Ancient Greek PERSIA Stinger What do you already know about the arts and culture of Ancient Greece?...
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Ancient Greek PERSIA Stinger What do you already know about the arts and culture of Ancient Greece? Why do you think that kind of knowledge is so wide-spread?
Stinger What do you already know about the arts and culture of
Ancient Greece? Why do you think that kind of knowledge is so
wide-spread?
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Stations Activity Use the Stations to fill out your PERSIA
chart and hand it in at the end of the block. Spend approximately
ten minutes at each station.
Slide 5
Art- Guiding Questions 1. How do the paintings on the pottery
illustrate What types of things Ancient Greeks produced or
consumed? What ancient Greeks did for recreation or sport? How
Ancient Greeks view arts, sciences, or knowledge? The government
structure of Ancient Athens? The role of Women in Society? The role
of religion in Ancient Greek life. 2. What does the existence of
stylized pottery tell you about wealth in Ancient Athens?
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Sculpture- Guiding Questions 1. How is the representation of
individual people in Ancient Greek Sculpture different from that in
previous ancient cultures? 2. How do the sculptures illustrate What
types of things Ancient Greeks produced or consumed? What ancient
Greeks did for recreation or sport? How Ancient Greeks view arts,
sciences, or knowledge? The government structure of Ancient Athens?
The role of Women in Society? The role of religion in Ancient Greek
life?
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Architecture- Guiding Questions 1. How does Ancient Greek
Architecture reflect an understanding of mathematics that was not
noticeable in architecture from other ancient societies? 2. What
are the purposes of the different structures represented in the
photographs? 3. Why has so much Ancient Greek architecture
survived? 4. Why would the decorative nature of Greek columns
change over time? 5. Why would architects throughout the modern
world copy Ancient Greek architecture?
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Philosophy- Guiding Questions 1. How does the conversation
reflect the Athenian notion of intellect? 2. Do you agree with
Socrates regarding why things should be left unwritten? Why or why
not? 3. According to Socrates, how is knowledge built? 4. How does
the Socratic notion of knowledge relate to modern notions of
scientific discovery?
Slide 21
Plato, The Phaedrus a dialogue between Socrates and Phaedrus
written down by the pupil of Socrates, Plato, in approximately 370
BC. [Headnote: In reading this excerpt from The Phaedrus which
reports a dialogue between Socrates and Phaedrus, crucial to your
understanding of what bothers Socrates about writing is knowing a
bit about his history and his own philosophical method. Socrates
himself never wrote anything; all his ideas were written down by
his student, Plato. Socrates had perfected a kind of oral
technology of thought called the "Socratic dialogue." Socrates
worked -- that is, he did his thinking work as a philosopher -- by
asking questions, interrogating the people who presented him with
ideas to find out where those ideas broke down logically into
contradictions. So when Socrates wants to be able to interrogate
the author of a book, to ask him or her questions, he really wants
the opportunity to do some good, hard thought-work with that
author, overturning contradictory claims and getting at underlying
assumptions through a process of question and answer, of dialogue.]
Soc. Enough appears to have been said by us of a true and false art
of speaking. Phaedr. Certainly. Soc. But there is something yet to
be said of propriety and impropriety of writing. Phaedr. Yes. Soc.
Do you know how you can speak or act about rhetoric in a manner
which will be acceptable to God? Phaedr. No, indeed. Do you? Soc. I
have heard a tradition of the ancients, whether true or not they
only know; although if we had found the truth ourselves, do you
think that we should care much about the opinions of men? Phaedr.
Your question needs no answer; but I wish that you would tell me
what you say that you have heard.
Slide 22
Soc. At the Egyptian city of Naucratis, there was a famous old
god, whose name was Theuth; the bird which is called the Ibis is
sacred to him, and he was the inventor of many arts, such as
arithmetic and calculation and geometry and astronomy and draughts
and dice, but his great discovery was the use of letters. Now in
those days the god Thamus was the king of the whole country of
Egypt; and he dwelt in that great city of Upper Egypt which the
Hellenes call Egyptian Thebes, and the god himself is called by
them Ammon. To him came Theuth and showed his inventions, desiring
that the other Egyptians might be allowed to have the benefit of
them; he enumerated them, and Thamus enquired about their several
uses, and praised some of them and censured others, as he approved
or disapproved of them. It would take a long time to repeat all
that Thamus said to Theuth in praise or blame of the various arts.
But when they came to letters, This, said Theuth, will make the
Egyptians wiser and give them better memories; it is a specific
both for the memory and for the wit. Thamus replied: O most
ingenious Theuth, the parent or inventor of an art is not always
the best judge of the utility or inutility of his own inventions to
the users of them. And in this instance, you who are the father of
letters, from a paternal love of your own children have been led to
attribute to them a quality which they cannot have; for this
discovery of yours will create forgetfulness in the learners'
souls, because they will not use their memories; they will trust to
the external written characters and not remember of themselves. The
specific which you have discovered is an aid not to memory, but to
reminiscence, and you give your disciples not truth, but only the
semblance of truth; they will be hearers of many things and will
have learned nothing; they will appear to be omniscient and will
generally know nothing; they will be tiresome company, having the
show of wisdom without the reality. Phaedr. Yes, Socrates, you can
easily invent tales of Egypt, or of any other country. Soc. There
was a tradition in the temple of Dodona that oaks first gave
prophetic utterances. The men of old, unlike in their simplicity to
young philosophy, deemed that if they heard the truth even from
"oak or rock," it was enough for them; whereas you seem to consider
not whether a thing is or is not true, but who the speaker is and
from what country the tale comes. Phaedr. I acknowledge the justice
of your rebuke; and I think that the Theban is right in his view
about letters. Soc. He would be a very simple person, and quite a
stranger to the oracles of Thamus or Ammon, who should leave in
writing or receive in writing any art under the idea that the
written word would be intelligible or certain; or who deemed that
writing was at all better than knowledge and recollection of the
same matters? Phaedr. That is most true. Soc. I cannot help
feeling, Phaedrus, that writing is unfortunately like painting; for
the creations of the painter have the attitude of life, and yet if
you ask them a question they preserve a solemn silence. And the
same may be said of speeches. You would imagine that they had
intelligence, but if you want to know anything and put a question
to one of them, the speaker always gives one unvarying answer. And
when they have been once written down they are tumbled about
anywhere among those who may or may not understand them, and know
not to whom they should reply, to whom not: and, if they are
maltreated or abused, they have no parent to protect them; and they
cannot protect or defend themselves. Phaedr. That again is most
true. Soc. Is there not another kind of word or speech far better
than this, and having far greater power-a son of the same family,
but lawfully begotten? Phaedr. Whom do you mean, and what is his
origin?
Slide 23
Soc. I mean an intelligent word graven in the soul of the
learner, which can defend itself, and knows when to speak and when
to be silent. Phaedr. You mean the living word of knowledge which
has a soul, and of which written word is properly no more than an
image? Soc. Yes, of course that is what I mean. And now may I be
allowed to ask you a question: Would a husbandman, who is a man of
sense, take the seeds, which he values and which he wishes to bear
fruit, and in sober seriousness plant them during the heat of
summer, in some garden of Adonis, that he may rejoice when he sees
them in eight days appearing in beauty? at least he would do so, if
at all, only for the sake of amusement and pastime. But when he is
in earnest he sows in fitting soil, and practises husbandry, and is
satisfied if in eight months the seeds which he has sown arrive at
perfection? Phaedr. Yes, Socrates, that will be his way when he is
in earnest; he will do the other, as you say, only in play. Soc.
And can we suppose that he who knows the just and good and
honourable has less understanding, than the husbandman, about his
own seeds? Phaedr. Certainly not. Soc. Then he will not seriously
incline to "write" his thoughts "in water" with pen and ink, sowing
words which can neither speak for themselves nor teach the truth
adequately to others? Phaedr. No, that is not likely. Soc. No, that
is not likely-in the garden of letters he will sow and plant, but
only for the sake of recreation and amusement; he will write them
down as memorials to be treasured against the forgetfulness of old
age, by himself, or by any other old man who is treading the same
path. He will rejoice in beholding their tender growth; and while
others are refreshing their souls with banqueting and the like,
this will be the pastime in which his days are spent.
Slide 24
Ancient Greek Theatre- Guiding Questions 1. What does the scene
tell you about Ancient Greek Religion? Leadership? Women? 2. How
does the scene reflect the ways Ancient Greeks felt about the
relationship between the individual and the community?
Slide 25
Excerpt From Antigone SENTRY: It was like this: After those
terrible threats of yours King. We went back and brushed the dust
away from the body. The flesh was soft by now, and stinking, So we
sat on a hill to windward and kept guard. No napping happened until
the white round sun Whirled in the center of the round sky over us:
Then, suddenly, A storm of dust roared up from the earth, and the
sky Went out, the plain vanished with all its trees In the stinging
dark. We closed our eyes and endured it. The whirlwind lasted a
long time, but it passed; And then we looked, and there was
Antigone! I have seen A mother bird come back to a stripped nest,
heard Her crying bitterly a broken note or two For the young ones
stolen. Just so, when this girl Found the bare corpse, and all her
loves work wasted, She wept, and cried on heaven to damn the hands
340 That had done this thing And then she brought more dust And
sprinkled wine three times for her brothers ghost. We ran and took
her at once. She was not afraid, Not even when we charged her with
what she had done. She denied nothing. And this was a comfort to
me, And some uneasiness: for it is a good thing To escape from
death, but it is no great pleasure To bring death to a friend. Yet
I always say There is nothing so comfortable as your own safe skin!
I have seen A mother bird come back to a stripped nest, heard Her
crying bitterly a broken note or two For the young ones stolen.
Just so, when this girl Found the bare corpse, and all her loves
work wasted, She wept, and cried on heaven to damn the hands 340
That had done this thing And sprinkled wine three times for her
brothers ghost.
Slide 26
CREON: [*Slowly, dangerously.*] And you, Antigone, You with
your head hangingdo you confess this thing? ANTIGONE: I do. I deny
nothing. CREON: [*To SENTRY:*] You may go. [*Exit SENTRY. To
ANTIGONE:*] Tell me, tell me briefly: Had you heard my proclamation
touching this matter? ANTIGONE: It was public. Could I help hearing
it? CREON: And yet you dared defy the law. ANTIGONE: I dared. It
was not Gods proclamation. That final Justice That rules the world
below makes no such laws. Your edict, King, was strong, But all
your strength is weakness itself against The immortal unrecorded
laws of God. They are not merely now: they were, and shall be,
Operative for ever, beyond man utterly. I knew I must die, even
without your decree: I am only mortal. And if I must die Now,
before it is my time to die, Surely this is no hardship: can anyone
Living, as I live, with evil all about me, Think Death less than a
friend? This death of mine Is of no importance; but if I had left
my brother Lying in death unburied, I should have suffered. Now I
do not. You smile at me. Ah Creon, Think me a fool, if you like;
but it may well be That a fool convicts me of folly. Licensed to
say and do whatever they please! It was not Gods proclamation. That
final Justice That rules the world below makes no such laws. Your
edict, King, was strong, But all your strength is weakness itself
against The immortal unrecorded laws of God. Operative for ever,
beyond man utterly. I knew I must die, even without your decree:
That a fool convicts me of folly.
Slide 27
CHORAGOS: Like father, like daughter: both headstrong, deaf to
reason! She has never learned to yield. She has much to learn. The
inflexible heart breaks first, the toughest iron Cracks first, and
the wildest horses bend their necks At the pull of the smallest
curb. Pride? In a slave? This girl is guilty of a double insolence,
Breaking the given laws and boasting of it. Who is the man here,
She or I, if this crime goes unpunished? Sisters child, or more
than sisters child, Or closer yet in bloodshe and her sister Win
bitter death for this! [*To servants:*] Go, some of you, Arrest
Ismene. I accuse her equally. Bring her: you will find her
sniffling in the house there. Her minds a traitor: crimes kept in
the dark Cry for light, and the guardian brain shudders: But now
much worse than this Is brazen boasting of barefaced anarchy!
ANTIGONE: Creon, what more do you want than my death? CREON:
Nothing. That gives me everything. ANTIGONE: Then I beg you: kill
me. This talking is a great weariness: your words Are distasteful
to me, and I am sure that mine Seem so to you. And yet they should
not seem so: I should have praise and honor for what I have done.
All these men here would praise me Were their lips not frozen shut
with fear of you. [*Bitterly.*] Ah the good fortune of kings, Like
father, like daughter: both headstrong, deaf to reason! She has
never learned to yield. She has much to learn. The inflexible heart
breaks first, the toughest iron Cracks first, and the wildest
horses bend their necks At the pull of the smallest curb. Who is
the man here, She or I, if this crime goes unpunished?
Slide 28
In the News- Guiding Questions 1. What clues from the mosaic
did the archeologists piece together to come to conclusions about
the meaning of the piece? 2. How did archeologists use what they
already knew in order to draw conclusions about the piece? 3. How
does this finding reflect Ancient Greek Religion? Knowledge? Social
structures? Government? 4. Why do people remain interested in
Ancient Greece as a field of study?
Slide 29
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Queen of the Underworld Sheds New Light on Greek Tomb Newly
revealed mosaic may hold key to unlocking mystery: Who was buried
in the massive mound? TGreek archaeologists have discovered the
image of a young, red-haired goddess being swept off to the
underworld inside a 2,300-year-old tomb near the ancient site of
Amphipolis in northern Greece. Identified as Persephone, daughter
of Zeus, the goddess portrayed on a mosaic floor provides a key new
clue to what in recent months has become a much publicized mystery:
Who was laid to rest in the immense, marble-walled tomb 61 miles
(99 kilometers) northeast of the Greek city of Thessaloniki?
Monumental in scale and Macedonian in style, the Amphipolis tomb
(also known as the Kasta tumulus) lies close to the Aegean port
that Alexander the Great used for his fleet. Archaeologists have
dated the tomb to the last quarter of the fourth century B.C.,
likely placing its construction in the fractious period following
Alexander's death in 323 B.C. All this has fueled intense
speculation that the tomb was built for someone close to Alexander,
but clear evidence has been lacking. Greece's Ministry of Culture
and Sport announced at a news conference on Thursday that the newly
discovered image of Persephone closely resembles one in a painting
from the royal cemetery of Vergina, where Alexander the Great's
father was buried. This discovery, noted Lena Mendoni, general
secretary of the Ministry, links the Amphipolis tomb to the royal
lineage of Alexander the Great. "The political symbolism is very
strong," Mendoni said. Ministry of Culture and Sport The new find
is raising hope that the tomb will add another chapter to the
tumultuous history of the ancient Macedonian royal house. "Without
doubt," said archaeologist Katerina Peristeri, principal
investigator of the Amphipolis tomb, "the deceased was extremely
important." The woman featured in the mosaic is shown with fiery
red hair and dressed in a white robe. Archaeologists believe the
mosaic shows the abduction of Persephone by Pluto.
Slide 31
Carried Off to the Land of the Dead Peristeri and her
colleagues discovered the Persephone mosaic as they cleared the
floor of one of the tomb's inner chambers. Extending over some 145
square feet, the finely executed artwork depicts the Greek myth of
the abduction of Persephone. According to the ancient story, Hades,
the god of the underworld, spied Persephone, the daughter of Zeus
and the harvest goddess, working in a field, and decided to make
her his wife. So he captured her and took her to the underworld,
where she became his queen. The mosaic portrays Hades as a bearded
charioteer carrying off the curly-haired Persephone, who looks back
wistfully toward her home. Running in front of the chariot is a
third figure, the messenger god Hermes, who wears a scarlet cloak
and hat and a pair of winged sandals as he leads the way to the
underworld. Peristeri was unwilling to speculate on the identity of
the tomb's owner based on this new evidence. But Ian Worthington, a
classical scholar at the University of Missouri in Columbia, thinks
the excavators could be looking at "a female occupant of the tomb,
because the mosaic shows a female being led to the underworld." If
this proves to be the case, Worthington added, the tomb might hold
the remains of Roxane, Alexander the Great's wife, or Olympias, his
mother. Both women were put to death by one of Alexander's
generals, Cassander, as he secured the throne of ancient Macedonia.
Ian Worthington Surviving classical texts record that Cassander put
Roxane and her young son to death at Amphipolis in 310 B.C., so
it's very possible, said Worthington, that she could lie in the
Amphipolis tomb. But other evidence points strongly toward
Olympias. Alexander intended to make his mother a goddess, like the
female deity in Hades' chariot. Moreover, Olympias continued to
hold considerable political power even after Alexander's death.
Although she was murdered by Cassander and his allies, "I think she
still could have been honored by such a tomb," saidPhilip Freeman,
a professor of classics at Luther College in Decorah, Iowa.Philip
Freeman Only time, and further excavation, will tell.
Slide 32
Exit Ticket How has Greek thought influenced modern
society?