By Carol Dougherty, Leslie Kurke
This quantity brings jointly essays by means of archaeologists, historians, and literary students in a accomplished exam of the Greek archaic age. A time of dramatic and innovative swap while a number of the associations and proposal styles that may form Greek tradition developed, this era has turn into the article of renewed scholarly curiosity in recent times. but it has resisted reconstruction, principally simply because its documentation is much less entire than that of the classical interval. so as to learn the textual content of archaic Greece, the individuals the following follow new methods--including anthropology, literary conception, and cultural history--to vital concerns, between them the translation of formality, the origins of hero cult and its relation to politics, the evolving ideologies of colonization and athletic victory, the illustration of statesmen and sages, and the serendipitous improvement of democracy. With their interdisciplinary methods, some of the essays display the interdependence of politics, faith, and economics during this interval; the significance of public functionality for negotiating social interplay; and the artistic use of the earlier to constitution a altering current. Cultural Poetics in historical Greece bargains a energetic and coherent reaction to the scholarly demanding situations of the archaic interval.
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Extra resources for Cultural Poetics in Archaic Greece: Cult, Performance, Politics
Html [28-12-2008 21:55:24] page_31 < previous page page_31 next page > Page 31 Dipylon cemetery were still, for a decade or so, associating themselves in their monumental art with a story peculiarly their own. They set themselves apart from (and most likely above) other Athenians, rejecting local burial traditions in favor of Panhellenic rites and advertising the fact through their ostentatious use of funerary scenes. Their rituals may have evoked complex and contradictory responses. 113 Collapsing all perspectivespainter, burier, ancient viewer, modern art historianinto a single interpretation, as Osborne does, destroys much of the historical significance of this evidence.
Both internal and external factors seem to have been involved. Harrison's lack of empirical rigor left her open to constant factual correction, which was undoubtedly important. So too were the personalities of the protagonists. After 1918 Harrison despaired of the West, left England for a long period, and became obsessed with Russian mysticism. Murray involved himself in the League of Nations and, though he continued to publish, seemed to have lost his prewar commitment. 49 The Cambridge school's attachment to evolutionism and a "bits-and-pieces" comparativism no doubt isolated it from the more dynamic researchers in the social sciences, who were moving toward functionalism, while the similarity between Farnell's epistemology and that of the Oxford school of British history must have reinforced his credibility.
It is never clear whose interpretations of ritual Osborne is discussing. If the Dipylon vase is "death seen from the outside," are we to conceive of this as the painter's view? Or the patron's? Or a wider social group's, or even a metaphysical "collective unconscious"? Or purely Osborne's own? The strategy of the social historian is normally to assume that both the producers and the consumers of images are located within cultural systems that inform their interpretations of what they are doing, simultaneously constraining and enabling the creation of meaning.
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