Ancient Greek Iconography

The paper focuses on the symbolic role played by the Greek oinochoe (the conical and broad bottomed ones both in Corinthian and East Greek Pottery) in performing sacred rituals between the 8th and the 6th Century BC. Specific study-cases will be discussed, taking into consideration some crucial archaeological contexts in Greece, Sicily and Magna Grecia. Particularly significant in this regard are some new insights from the excavations of Temple R in the main urban sanctuary of Selinus (Sicily), where Clemente Marconi has conducted a project of architectural and archaeological investigation since 2006.
Additionally, iconographical and written sources are scrutinized to achieve a better understanding of the role of the oinochoe in the sacred ceremonies of Archaic Greece.

Dioniso y su séquito se representaron a menudo en la cerámica utilizada en el simposio griego. Dentro de la iconografía dionisíaca, nos ocupamos del retorno de Hefesto al Olimpo, episodio que se conoce en mayor medida por las representaciones artísticas que por las referencias literarias. El vaso François nos brinda una de las más antiguas y elaboradas versiones que incluye al dios de la metalurgia montado en un asno itifálico y un bullicioso cortejo de sátiros y ninfas. Versiones posteriores amplían el componente erótico (Crátera, Lydos, Met. 31.11.11), el desenfreno (Copa, Pintor de Oakeshott, Met. 17.230.5) y, en algún caso, la agresión sexual (Hidria, Viena ANSA IV 3577).

This article examines the corpus of over 100 votive steles dedicated by women to Artemis at Gonnoi, northern Thessaly (3rd-1st century BCE), focusing on female agency and the goddess's epithets. Prosopographic analysis reveals these women belonged to elite families of likely Macedonian origin, with dedications formulaically structured as vows fulfilled for childbirth-related favors. Epithets like Eileithyia (childbirth), Geneteira (generation), and Lochia/Eulochia (post-partum health) reflect distinct reproductive stages, while Euonymos encompasses propitiatory naming. The sanctuary appears exclusively female, contrasting with male-inclusive cults elsewhere in Thessaly and Boeotia, highlighting Artemis's role in women's lifecycle and community reproduction.

The word "harmony" is a noun. It originates from Greek, but is accepted in many other languages. Its meaning is not strictly defined. In general, it could be understood as a pleasant combination of different elements. In music, it is a pleasant combination of tones and rhythms, in the visual arts it is a harmony of colors and proportions. In interpersonal relations, it is, similar to concord, an agreement that is pleasant to all participants. Harmony, like any ideal, has its divine personification in the myth of ancient Greeks, the goddess named Harmonia. In this paper, we have explored the symbolism of harmony, hoping to get closer to its meaning.

L'articolo analizza il "relitto della chiesa" Marzamemi II, un importante sito di archeologia subacquea nel Mediterraneo. ​ Il relitto, datato tra l'inizio e la metà del VI secolo, trasportava un carico di elementi architettonici e decorativi destinati alla costruzione di una basilica cristiana. ​ Tra i reperti spiccano colonne, capitelli e lastre di marmo pregiato, che testimoniano il mecenatismo imperiale e la diffusione del cristianesimo attraverso la monumentalità. ​ Le campagne di ricerca condotte dal 2013 al 2019, sotto la guida congiunta tra la Soprintendenza del Mare e la Stanford University, la Brock University, la Suor Orsola Benincasa di Napoli e la Federico II di Napoli, hanno portato alla luce nuovi materiali e reinterpretazioni del carico, suggerendo la possibilità che fosse destinato a più basiliche. ​ L'articolo evidenzia il ruolo del relitto nel comprendere le reti commerciali, le relazioni sociali e l'economia del Mediterraneo tardo romano, promuovendo la valorizzazione del patrimonio culturale marittimo attraverso percorsi subacquei e museali. ​

Le scoperte archeologiche subacquee nella provincia di Ragusa, Sicilia, avvenute grazie alla collaborazione tra la Soprintendenza del Mare e appassionati di archeologia evidenzia l'importanza della collaborazione tra istituzioni, associazioni e cittadini per la tutela e la valorizzazione del patrimonio sommerso. Tra i ritrovamenti principali vi sono:
Il relitto della nave lapidaria di Ispica costituito da un carico di blocchi di marmo rosso antico, databile tra il III e il VI secolo d.C., proveniente dalla Grecia e destinato probabilmente a Roma o al Nord Africa; la medaglia bronzea di Sant’Ignazio di Loyola, Rinvenuta a Pozzallo, risalente al XVI-XVII secolo, con raffigurazioni devozionali di Sant’Ignazio e San Francesco Saverio; il sito di Portulisse con resti lignei di un’antica imbarcazione e materiali ceramici di epoche diverse, datati tra il XV e il XVI secolo e il relitto di un mezzo da sbarco americano costituito da un Landing Craft Personnel (Large) della Seconda Guerra Mondiale, utilizzato durante l’Operazione Husky. ​

This paper is an italian translation of my paper published in French with Dionysius (2019). I argue that Plato's platonising interpretation of Simonides' poem provides a concrete example of philosophical hermeneutics according to Plato. When interpreting the poets, Plato remains faithful to ontological truth and uses hermeneutics to coherce an orthodox Platonic meaning into Simonides' text. This is the hermeneutic "pendant", I argue, of Plato's critique and censorship of poetry in the Republic. Whereas contemporary hermeneutics aim to reconstruct the historical truth of a given text, even if the meaning of this text is false, Platonic hermeneutics remain faithful to the philosophical truth, even if this implies being unfaithful to the intended meaning of the text.

Six terracotta figurines were found during the 2019 and 2020 German-Israeli Tell Iẓṭabba Project excavations. One of the figurines (Cat. No. 1 ) belonged to the Early Bronze Age and the others (Cat. Nos. 2-6 ) to the Hellenistic settlement. The Early Bronze Age figurine was handmade, and the others were mold-made. All the figurines are very fragmented. No petrographic analysis has been carried out for these objects, but a visual inspection shows that the clay color, fabric and fine levigation are quite homogeneous, suggesting a common local or regional origin. The Early Bronze Age bovine figurine is characteristic of the household and funerary repertoire of the EB III (cf., e.g., Getzov 2006: 94-96). The Hellenistic figurines constitute typical household items, and the types, such as the possible Artemis figurine (Cat. No. 2 ) and the possible mask or appliqué (Cat. No. 5 ), 1 are congruent with a settlement with a Greek cultural orientation . Some of the figurines, such as the possible kourotrophos (Cat. No. 4 ) and the crouching lion (Cat. No. 6 ), as well as the ship-like vessel discussed in Appendix 16.1 (Fig. .1), are more polyvalent and well attested in a Levantine milieu as well. 2 Due to the small number of finds and the heavy fragmentation, more robust conclusions are not possible, but the figurines add to the small corpus of published Hellenistic figurines from the Beth-Shean area (Erlich 2006).

In archaeological studies, visual culture is usually regarded via such conceptual frames as 'objecthood' or 'depiction'. However, these modern mental constructs make us think of ancient visual heritage in terms of narrative, pictorial, parasociological, and spatial formulae. The following article proposes to complement and extend the approach to visual culture with the concept of the visual environment, which indicates the necessity of embedding human sensory mechanisms in particular surroundings. The sensorimotor strategies serving the social structuring of space were among the basic activities in establishing a nature-culture order. This, in turn, implies the need to examine how archaic communities perceptually transform hostile space into a safe environment. To address this question, I begin with a much more fundamental problem: how did Mycenaean and Early Iron Age Greeks perceive space and movement? Their sensory embedding consisted of perceptual strategies, skills, dispositions, habits, and motor-spatial tactics, which may have been preserved, stored, or transmitted through specific products of human hands, manufacturing activities themselves, or memorization techniques used in painting or the oral epic. All these factors constitute what we could call an ancient sensory heritage, which I propose to explore through a series of archaeological and literary sources problematising the issues of proxemics and synesthetic perception.

Радченко, Константин Федорович. Отчет о занятиях рукописями в библиотеках и других ученых учреждениях Москвы и С.-Петербурга в течение сентября и октября 1896 года / магистранта К.Ф. Радченка. – Киев : Типография Императорского Университета Св. Владимира Н.Т. Корчак-Новицкого, 1898. – [2], 119, [1] c. – Отд. отт. из: Университетские известия. Киев, 1898. Вып. 4, 9.

Из библиотеки Г.А. Ильинского.

In this interview with Guilherme de Aquino Silva, Vagner Carvalheiro Porto reflects on his academic path and his contributions to the study of Antiquity in Brazil, with emphasis on Mediterranean Archaeology, numismatics, and the integration of provincial territories into the Roman Empire. The dialogue highlights his role as coordinator of the Laboratory of Provincial Roman Archaeology (LARP), a key center for research, teaching, and outreach based at the Museum of Archaeology and Ethnology of the University of São Paulo. The interview also explores the importance of international cooperation and the impact of new technologies on archaeological research. It offers a broad overview of contemporary Classical Archaeology practices in Brazil, advocating for a critical and decolonial perspective on ancient history.

Keywords: Mediterranean Archaeology, Numismatics, Roman Empire, Provincial Integration, Archaeological Technology, Decolonization.

Resumo
Nesta entrevista concedida a Guilherme de Aquino Silva, Vagner Carvalheiro Porto reflete sobre sua trajetória acadêmica e suas contribuições para os estudos da Antiguidade no Brasil, com ênfase na Arqueologia do Mediterrâneo, na numismática e nos processos de integração dos territórios provinciais ao Império Romano. A conversa destaca, ainda, sua atuação como coordenador do Laboratório de Arqueologia Romana Provincial (LARP), importante polo de pesquisa, ensino e extensão sediado no Museu de Arqueologia e Etnologia da USP. Discutem-se também a importância da cooperação internacional e os impactos das novas tecnologias nos estudos arqueológicos. A entrevista oferece uma rica visão das práticas contemporâneas da Arqueologia Clássica no Brasil, propondo uma leitura crítica e descolonizadora da história antiga.

Palavras-chave: Arqueologia do Mediterrâneo, Numismática, Império Romano, Integração provincial, Tecnologias aplicadas à arqueologia, Descolonização.

This paper returns to the most discussed coin in Hebrew Bible Studies, bringing neglected numismatic evidence into play and offering a revised iconographic reading. It has long been recognized that the imagery draws entirely on Greek prototypes, associated with Zeus, Triptolemos, and Dionysos respectively. It is therefore highly plausible that the image makers designed this deity according to a Greek logic, yet a rigorous analysis from this perspective is apparently still lacking in scholarship. The iconography of (major) deities in the visual culture of Greece was basically standardized by the Classical Period, ensuring their proper identification by people versed in these viewing habits. It is nevertheless possible for Deity A to borrow the identifying attributes of Deity B, in order to show that Deity A is in some sense like Deity B.

Looking at the deity from this perspective places him in a new light. He is portrayed as a mature, bearded, and enthroned deity, holding an eagle, an identifying attribute of Zeus. He is overtly likened to the highest god in the Greek pantheon, connected to the heavens, including weather phenomena, as well as to the cosmic order. From the standpoint of the image makers, this analogy imbued our deity with all of these divine characteristics. The relevance of the divine profile of Zeus is intuitively recognized by researchers, but rather inconsistently, the divine profiles of Triptolemos and Dionysos respectively are not given equal weight. Despite acknowledging the Greek prototypes for the winged chariot, this feature is basically universally interpreted as yet another manifestation of the winged (sun) disk, expressing solar and celestial qualities. The winged chariot had always been associated with agricultural deities in Attic visual culture and by the 5th century BCE, this mode of transportation became an identifying feature of Triptolemos, a demigod responsible for the spread of agriculture in his winged chariot. He also starts to feature on festival coinage for the Eleusinian Mysteries from ca. 350 BCE. The deity was overtly likened to Triptolemos to place the accent on a very specific role: namely, his capacity, as a weather god, to bring the gift of agriculture to peoples all over the world. In the lower right corner is a grotesque face. This is Silenos, a follower of Dionysos, conceivably highlighting our deity’s gift of vinicultural prosperity in the terrestrial domain. It is basically inevitable that these evocations were not received by all viewers; but perhaps, from a minimalist perspective, the eagle and the winged chariot were comprehensible to basically everyone as skyward attributes, ultimately encompassing this same complex of divine powers.

Many gods on coinage from the Levant during the Persian Period took on the characteristics of Zeus or Ahuramazda/Great King in order to identify them as supreme heavenly gods, but a special accent was placed on their life-giving power. This deity fits well into these broader trends. He is traditionally – and probably rightly – identified as Yahweh, but potentially interpreted as equivalent deities in a cosmopolitan context.

*If you are interested in discussing this, please contact me directly!

This monograph explores the evolution of the gorgoneion and Gorgo-Medusa with a focus on the period between the 8th century BC and 5th century AD in the ancient Greek World. Here, Medusa serves as an apotropaic symbol, embodying evil to counteract evil and deter threats. Artistic representations have been classified into six categories; the variations in form, material, and context are discussed critically and are linked to daily life in the ancient world.

The book provides detailed analysis of the changing faces and roles of the prevalent gorgoneion type throughout each cultural phase and subperiod. It merges aspects of the history of art, philosophy, cultural development, archaeology, and mythological accounts based on all available ancient literature sources. It explores the intriguing, attractive, and enigmatic roles of gorgoneion/Medusa throughout ancient Greek history, including connections with Eastern cultures.

In 1978 to 1981, the Swiss archaeological school resumed excavations at the sanc tuary of Apollo Daphnephoros at Eretria to explore the northern and eastern limits of the sanctuary, with additional investigations undertaken in 1990. To the north of the temple of the god the excavations revealed an area of cult, VAire sacrificielle Nord, with an immensely rich votive deposit, consisting of several thousand miniature hydrias and other ceramic vessels, as well as objects from Italy, the Syro-Phoenician sphere and Luristan. The deposit also contained a large number of animal bones. The results of these investigations are published and analysed by Sandrine Huber in two excellent volumes of text and images. This study greatly enriches our knowledge not only of Geometric-Archaic Ere tria, but also of Greek religion at large, as it consists of the earliest cult attested in an urban sanctuary in the Greek world.

One of the traits that distinguished New Comedy from Old was the apparent decline of the chorus.  A convergence of factors can rightly be thought responsible for the change: comedy was probably influenced by precedents in tragedy; and comic playwrights became more interested in creating a sense of illusion, unbroken by choral interaction with the actors.  This was abetted by a growing interest in the art of the actor and by the internationalization of the market for comedy, which may have made choral drama less exportable.  Innovation in dance and music also had repercussions for the chorus. In any event, what had been an organic part of the genre in the fifth century seems to have been jettisoned in the fourth. In this paper, however, I would like to stress that in several respects there were significant continuities at work.

This chapter aims to present some of the main results from the A.G.A.T.H.O.C.L.E.S. project. With a highly interdisciplinary approach, some figurative traditions active between the end of the !th and the first half of the 4th century B.C. in Sicily (Himera and the area of Syracuse) and along the Tyrrhenian coast (primarily Lipari and Campania) have been analyzed in depth. Technological features were explored through the support of computational imaging. Data come from multiscale perspectives. By using a microscale and a midscale perspective, it is possible to detect technological details related to the ancient painters’ gestures (e.g., images coming from Reflectance Transformation Imaging – RTI), especially concerning idiosyncratic ways of drawing preliminary sketches and the differing sequences of applying relief-lines and added colors. Moreover, the combination of these data with those from the experimental archaeological sessions was crucial to better test various technological aspects, creating analogies with ancient technological procedures, tools, and gestures. Finally, using a macroscale perspective through the application of Social-Network Analysis (SNA) allows us to reconstruct a wider historical overview of these artisanal networks, expressed with nodes and edges. This network
approach, based on the raw Big Data from the seminal volumes by A.#D. Trendall and A. Cambitoglou, helps us to visualize in new and innovative ways the — sometimes elusive — possible collaborations and relationships between different South Italian workshops and to explore interesting links suggestive of movements and migrations of artists between
Sicily and Magna Graecia.

Thesis statement: Roman physicians and surgeons established general protocols for the diagnosis and treatment of orthopedic problems still followed by modern physicians and surgeons. Methodology: Historiography and conceptual analysis of the writings of physicians in ancient and modern times. Results: The protocol for diagnosis included (1) subjective information from the patients, (2) the objective findings of physicians, (3) assessment of these findings and their correlation with other patients with similar subjective and objective data, and (4) formulation of a treatment plan and alteration of the treatment plan based on its results. The protocol for treatment included (1) nonoperative procedures, (2) surgical procedures, and (3) convalescence and physical therapy. Conclusion: Ancient Roman and modern physicians used similar protocols in the diagnosis and treatment of patients with orthopedic problems.

Corpo e salvezza costituiscono un binomio essenziale. Ciò impone di considerarli sempre contestualmente: congiungere l’uno all’altra, o disgiungere l’uno dall’altra, rivela quale Weltanschauung sia di volta in volta in campo, di quale prospettiva ci si faccia sostenitori. Insieme col corpo, il veicolo attraverso il quale l’uomo interagisce con la realtà circostante, è in questione la mondanità della vita. Il dibattito attorno a questo tema riemerge come un fiume carsico nella storia della civiltà occidentale.
Nel secondo e conclusivo volume dell’opera si è tentato di far luce sulle opzioni che gli uomini e le correnti di pensiero dei primi secoli dopo Cristo avevano dinanzi, quando si confrontavano con la mondanità della vita. Il valore da riconoscerle ha ricadute sull’esistenza umana, in tutti i suoi aspetti, che sono palmari.

In the pre-mechanized era, the animals offered the required energy and traction power to agricultural work (e.g. plowing) and transport both in peaceful periods and in war operations. This presentation examines the recordings of the Mycenaean Age Linear B tablets (1450-1200 BC), from which the use of livestock and its utilization in these activities are implied. Oxen are recorded "u n a = we-ka-ta 2 = ϝεργᾱται = workers" (obviously used in agricultural work), horse-pulled chariots and the tack of the horses, etc. The great importance that was attributed at that time to the contribution of livestock to the economy is also emphasized by: (a) the chariot in Linear B is called "e I p = i-qi-ja = ἱππία = (h)ippia", from Greek (h)ippos = horse, namely the "pulled by horse" (vehicle), and, (b) Local deities are probably recorded: "Horse-Goddess", "Bullock-deity" and other Animal-deities. Furthermore, this article presents some individual parameters of daily life, related to animals, as recorded on the tablets. A possible efficiency comparison between the horses' and oxens may also be based on relative later measurements (e.g. of James Watt in 1782-1786 AD and modern Universities and the Food Agriculture Organization [FAO] of the United Nations).

Studium Classicorum reúnen un conjunto de trabajos dedicados al Mundo Clásico en todos sus aspectos, desde sus antecedentes indoeuropeos hasta la pervivencia actual del legado de Grecia y Roma. En sus diferentes secciones tienen cabida todos los campos que tradicionalmente se han asociado a los Estudios Clásicos: los más puramente filológicos, como la lingüística y la literatura, junto con los históricos, artísticos y arqueológicos, los de epigrafía y papirología, los de filosofía, derecho, mundo bizantino, latinidad medieval y humanismo y, desde luego, importantes contribuciones sobre la didáctica de las materias clásicas. Esta extraordinaria colección ofrece un panorama general de las mejores contribuciones actuales al Mundo Clásico en España y en otros países hispánicos. Todos estos trabajos constituyen una selección de las ponencias, comunicaciones, mesas redondas y carteles que se presentaron en el XVI Congreso de Estudios Clásicos, celebrado en Salamanca en julio de 2023. Estos volúmenes vienen así a continuar y engrosar la colección más importante de estudios sobre la Antigüedad grecorromana que se haya publicado en España en cualquier época, mostrando, a la vez, la continuidad de la ciencia en estos campos y la renovación de métodos, enfoques e, incluso, áreas de las que los clasicistas españoles no se habían ocupado hasta el momento. Difícilmente podrá encontrarse en ningún otro ámbito un compendio más completo de estudios. El Mundo Clásico, la herencia de griegos y romanos, nuestro propio pasado, pero también nuestro presente lingüístico y cultural lo merecen.

Meticulous study of the Kato Zakros Neopalatial nodules has led to the detection of three nodule groups in this material. While one group does not seem to differ from Neopalatial nodules known from other deposits in Crete and Akrotiri, another seems to have had a local character; the third combines elements found in the two others. These groups could attest to the activities of a local versus a non-local element in the Neopalatial site and perhaps even suggest a more 'closed' site at the start of the Neopalatial period, later opening to external influences at the time of the construction of the Minoan palace. *

The fully formed polis of Athens faced many critical events from the time of her emergence in the late Iron Age to the period of her inclusion into the Roman Empire. Stress in the lived world resulted in approaches to the divine sphere: religious practices or cult places were created, added onto or even abandoned. With this paper, I aim to demonstrate that Athenian religion was on the one hand crucial for the resilience of the polis community in the face of crisis. The Athenians turned to divine aid when they felt overwhelmingly and immediately threatened. And also in retrospect, religion was used as a strategy in handling the perception of an overcome crisis. On the other hand, Athenian religion itself features systemic resilience, which is rooted in the multidimensional embedding of cult places and ritual practices into Athenian topography and society, making it a vital part of the »lived world«. Based on observations made on several researched case studies from critical events during the Classical period, some insights on the lesser studied Hellenistic period – often understood as a period of decline and permanent crisis – will be provided and used to illustrate that besides pro-active resilience through regular worship, several re-active resilience strategies were used in the polis after her heyday.

Natalie Hayne's book, A Thousand Ships, discusses the varied stories of the forgotten women involved in the epic Trojan War, spanning both Homer and Virgil, and the many versions of the tales told throughout the Greek mythology. This paper takes a close look at ten of the characters in Haynes's book in an attempt to decipher their importance to the legend of the fall of Troy, and why their voices and stories deserve to be heard.

This article re-examines the Trojan War from a fresh perspective by focusing on Calchas, the prophetic seer whose strategic visions shaped the course of the war. While traditional narratives emphasize the heroes and gods, this study highlights the invisible director behind the scenes—the mythopoetic role of Calchas as a structural force guiding fate, decisions, and transformations within the epic. By bridging mythological storytelling with historical and social realities, the article reveals how prophecy functions not only as foretelling but as active narrative intervention.

The fth century BCE stands out as a revolutionary period in Classical Greek philosophy, literature, and art, often regarded as a turning point and a golden age in the context of cultural history. The term classical originates from the outstanding artistic richness that emerged during this era in elds such as sculpture, painting, architecture, and theater. This artistic wealth, which becomes visible in the fifth century BCE, fourishes in the following Hellenistic period. The artistic revolution of this period is made possible by the rise of rational thought, which begins in the sixth century BCE but reaches its zenith in the fiffth century BCE. This new rational perspective gradually replaces old mythological narratives with themes centered on human concerns. While many artifacts of the fifth century BCE reect a synthesis of Pythagorean principles of mathematical proportion and Apollonian ideals of perfection, the philosophical inquiries of the Sophists and Socrates in the later part of the century begin to inuence this revolutionary change. This philosophical shift directs art visibly towards human centered themes. It prompts artists,
sculptors, and playwrights to explore both divine and human subjects within a new framework. This interdisciplinary study examines the transformation in Classical Greek artistic thought, tracing how divine representations in early artifacts, inspired by Eastern World, gradually give way to human centered themes. Analyzing this evolution within the philosophical, intellectual, and political context of the period, the paper seeks to clarify the complex relationship between emerging ideas and artistic innovations through selected examples of sculpture. By doing so, the research comparatively illuminates how mythological narratives evolved into human centered thought.

This paper aims to present an overview of archaistic elements in ancient Greece in the fifth and fourth centuries BC. The first part provides a background for their emergence in the second half of the fifth century and summarises the possible reasons why it might have happened. Its primary focus lies in presenting examples from sculpture, vase painting and toreutics and in connecting the archaistic traits which appear on them. The particular elements are described and placed in time. In the final chapter, we draw a conclusion.

This paper aims to present an overview of archaistic elements in ancient Greece in the fifth and fourth centuries BC. The first part provides a background for their emergence in the second half of the fifth century and summarises the possible reasons why it might have happened. Its primary focus lies in presenting examples from sculpture, vase painting and toreutics and in connecting the archaistic traits which appear on them. The particular elements are described and placed in time. In the final chapter, we draw a conclusion.

This paper underlines the importance of familial milieu as the basic unit for the development of cultural history in Antiquity. In the first part, the author focuses on the transmission of practices and objects related to intellectual activities from father to son. In the second part, particular attention is devoted to Greek and Roman sources linking the textual tradition of some authors to their families. It will be thus showed that the role played by those circles might have been different according to the case – preservation, dissemination, control – but cannot be underestimated in the formation of manuscript traditions.

Resumen: En este artículo se analiza la construcción de la víctima femenina en el
mundo griego ante el abuso de farsantes y mentirosos. Tomando el ejemplo de la
tragedia Ifigenia en Aúlide de Eurípides, la relación entre Circe y Odiseo en la Odisea
y la comedia de Las Ranas de Aristófanes, se establecen los distintos perfiles que
convierten a las mujeres en víctimas. El mundo griego estableció una relación
indisociable entre la presencia del kurios y la capacidad de defensa de las mujeres. En
sí mismas, los miembros femeninos de la familia no tenían capacidad de acción, sino
que estaban protegidas por un varón. Si ese hombre no atendía a sus necesidades o
estaba ausente, las mujeres caen en manos de los farsantes. Por último, el estatus
económico y la visibilidad pública son también un factor que hace que las mujeres
trabajadoras sean vulnerables ante los ataques de aprovechados.
Abstract: This article analyzes the construction of the female victim performed by
fakers and liars in the Ancient Greek World. It uses the examples of Ifigenia in Aulide
by Euripides, the relationship between Circe and Odysseus in the Odyssey, and The
Frogs by Aristophanes. It establishes different profiles that transform women into
victims. The Ancient Greek world established a connection between the kurios and
the agency of action in women. Male family members protected female ones. If this
man was absent or ignored them, they suffered from fakers. Finally, economic status
and public visibility were factors that made working women vulnerable to several
attacks on their integrity and heir.

Un cratère à colonnettes étrusque à figures rouges, rapproché du travail du Peintre de Bologne 824 et conservé au Musée national du Danemark à Copenhague (nr. 3842), présente un programme iconographique singulier mêlant jeu et genre, magie et altérité. Sur l’une de ses faces, une joueuse de kottabos fait tournoyer sa coupe tandis qu’elle esquisse un mouvement de danse entre deux nains ventripotents à l’abdomen curieusement orné d’amulettes. Le choix et la composition des images – avec un goût certain pour les personnages habituellement à la marge (femme joueuse, ménade, nains et satyres) – et leur articulation avec la forme du vase et ses usages éclairent les liens entretenus avec le monde dionysiaque, la culture du vin et sa réception en Étrurie.

Les vêtements, accessoires et parures féminins sont représentés de façon détaillée dans l'iconographie vasculaire attique à figures rouges. Parmi ces éléments vestimentaires, un objet particulier se distingue. Il s'agit d'un élément relativement arrondi et allongé qui est visible à l'extrémité des longues chevelures féminines. Sa spécificité s'inscrit non seulement dans sa typologie et son emplacement, mais également dans la fourchette chronologique des vases sur lesquels les imagiers le représentent, et qui concerne la première moitié du Ve s. av. J.-C. (500 à 450 environ). Cet article voue une brève étude non exhaustive de cet accessoire capillaire, que nous avons choisi de nommer "coiffe en étui" pour l'occasion. Nous l'analyserons d'après ses caractéristiques esthétiques et iconographiques, tout en posant la question de sa matérialité et de son utilité éventuelle.

Women's clothing, accessories and jewellery are depicted in detail in Attic vascular red-figure iconography. Among these items of clothing, one in particular stands out. It is a relatively rounded, elongated element that can be seen at the extremity of long women's hair. Its uniqueness lies not only in its typology and location, but also in the chronological range of the vases on which it is depicted by the painters, which relates to the first half of the 5th century BC (around 500 to 450). This article is devoted to a brief, non-exhaustive study of this hair accessory, which we have chosen to call a ‘cased headdress’ for the occasion. It will be analysed on the basis of its aesthetic and iconographic characteristics, while also raising the question of its materiality and possible usefulness.

The representations of musical and dance performances around statues allow us not only to explore the mythical, cultic, and historical contexts within which they were performed, but also their relationship with local cults and ceremonies. Taking into account visual evidence from Magna Graecia, this paper aims to take an interdisciplinary "big picture" approach, as opposed to a micro-focus on organology.

Un recente studio condotto sulla cultura musicale a Locri Epizefirii 1 , ha evidenziato aspetti che spingono a riflettere da un lato sulle occasioni della musica e del far musica nell'Occidente greco e sull'apporto delle singole poleis nella rielaborazione della funzione della musica nella vita, nella cultura e nella religione, dall'altro sulle pratiche musicali connesse ai particolari culti collettivi, oltre che alla religiosità domestica e funeraria. Se lo studio delle fonti scritte ha rivelato l'importanza della sfera musicale nella vita e nella cultura locrese, quello delle testimonianze archeologiche ha consentito non soltanto di ricostruire aspetti delle attività musicali in relazione ai rituali e ai culti, ma anche di collocare le performances in uno spazio e in un'occasione ben determinati e di interpretarne il significato religioso, sociale e culturale. La principale fonte figurativa d'informazioni sulla musica nel contesto sacro a Locri è nei pinakes del V e IV sec. a.C. rinvenuti nel Persephoneion, dove non mancano testimonianze che rivelano attività musicali anche nella sfera di Afrodite. Tra i temi figurativi che in questi particolari ex-voto si riferiscono ad atti di culto celebrati all'interno di un edificio sacro vi è il tipo 3/5 con una scena musicale (Fig. ) 2 che ha come protagoniste due figure femminili poste l'una di fronte all'altra ai lati di un incensiere e impegnate nel compimento di un sacrificio 3 : la prima regge una phiale colma di offerte e sembra intenta a bruciare l'incenso, la seconda suona un aulos. L'auletris accompagna lo svolgersi dell'azione sacra, suonando con le mani poste quasi all'estremità dei tubi e con l'indice sul foro della nota più alta che si trova ad una certa distanza dall'imboccatura delle due canne: è possibile ipotizzare che