Acropoliscelebration Of Athenian Victory And Empirearchaic To Classi ✓ Solved

Acropolis: Celebration of Athenian Victory and Empire Archaic to Classical Period: 480 B.C. * Athenian Empire Tribute Lists Trireme * Processional Architecture: Panathenaic Festival Parthenon * * PanAthenaic Festival: Presentation of New Robe * Athena Promachos Athena Polias “gaurdian of the city†* Aegis and Gorgon * Goddess of Crafts * Athena vs. Arachne: Weave off Uses of Olives in Antiquity * Panathenaic Games: Prizes * Erechtheus and the Myth of Autochthony * Athenian Acropolis, Persian sack 480 * Propylaia, Athena Nike, Erectheum, Parthenon * House of Erechtheus on Acropolis * “Parthenon†= maiden Temple? * * Optical refinements * Parthenon decoration: Pediments, Metopes, Frieze METOPES: Amazons, Centaurs, Troy, Gods vs.

Giants M P * The Contest Between Athena and Poseidon * Metope 1 and 2: Greeks vs. Centaurs * Shield: Athenians vs. Amazons * PanAthenaic Frieze (Ionian frieze) * * PanAthenaic Festival: Presentation of New Robe * Hermes and Cattle of Apollo Zigzag path/Turns cattle backwards/ Disguising their tracks/ 2. Sacrifices 2 of cattle/12 portions Indo-European “cattle of the Sun†* "Then glorious Hermes desired the portion of meat, for the sweet smell weakened him, even though he was immortal; but not even so could his valiant heart persuade him, despite his great desire, to allow it to pass down his holy throat. (130-33) * Mythical INVERSION * Sacrificial Myth Hermes said to have invented fire * HERMES TO MAIA "I know a far better future- let us spend our days amusing ourselves among the immortals, in a life of abundance and wealth, like lords of many an acre, rather than twiddling out thumbs in this drafty echoing cavern.

As for honor and rank, I too want the same as Apollo (lines 153-)" * Apollo finds Hermes Apollo = bie (brute force)/Hermes = metis * In sum: Hermes is a mediating figure Last born of gods Identity crisis Connection with sacrifice (Promethean) Trickster and Manipulator of Language The Olympian Universe is now Complete Hermes and Apollo reconcile: * Hermes, always in motion Hestia, d. of Kronos and Rhea, never moves * Homer: Know when he lived oral poetry * Oath of the Suitors--Helen of Sparta (dad Tyndareus) 2. Wedding of Peleus and Thetis * Judgement of Paris, another Trojan shepard boy with a goddess problem (Eris and apple) * Achilles and Amazon Penthiselea * Iliad begins: “Rage--Goddess, sing the rage of Peleus’ son Achilles, doomed, that cost the Achaeans (Greek side) countless losses, hurling down to the House of Death so many sturdy souls, but made their bodies carrion, feasts for the dogs and birds, and the will of Zeus moving toward its end.

Begin, Muse, when the two first broke and clashed, Agamemnon lord of men and brilliant Achilles. * KLEOS: Achilles sulks in his tent Sidekick Patroclus * Funeral of Patroclus * Hector vs. Achilles: warrior arming scene Achilles drags body of Hector * Priam ransoming Hector’s body * Trojan Horse * Sack of Troy * Initiation pattern: 1) call to adventure 2) refusal to call (whinner, just a kid) 3) supernatural aid 4) crossing of the first threshold (test) 5) road of trials 6) meeting with the goddess (who is often a temptress) 7) atonement with father 8) ultimate boon 9) return 10) apotheosis * Theseus and Road of Trials: Labors * Initiation pattern: 1) call to adventure 2) refusal to call (whinner, just a kid) 3) supernatural aid 4) crossing of the first threshold (test) 5) road of trials 6) meeting with the goddess (who is often a temptress) 7) atonement with father 8) ultimate boon 9) return 10) Apotheosis * Initiation pattern: 1) call to adventure 2) refusal to call (whinner, just a kid) 3) supernatural aid 4) crossing of the first threshold (test) 5) road of trials 6) meeting with the goddess (who is often a temptress) 7) atonement with father 8) ultimate boon 9) return 10) Apotheosis The movie Grease 11.

15:20 * A favorite device is decomposition * Why does a hero need a sidekick? * Initiation pattern: 1) call to adventure 2) refusal to call (whiner, just a kid) 3) supernatural aid 4) crossing of the first threshold (test) 5) road of trials 6) meeting with the goddess (who is often a temptress) 7) atonement with father 8) ultimate boon 9) return 10) Apotheosis 2001: A Space Odyssey * * Initiation pattern: 1) call to adventure 2) refusal to call (whinner, just a kid) 3) supernatural aid 4) crossing of the first threshold (test) 5) road of trials 6) meeting with the goddess (who is often a temptress) 7) atonement with father 8) ultimate boon 9) return 10) apotheosis * Theseus and Road of Trials: Labors * Initiation pattern: 1) call to adventure 2) refusal to call (whinner, just a kid) 3) supernatural aid 4) crossing of the first threshold (test) 5) road of trials 6) meeting with the goddess (who is often a temptress) 7) atonement with father 8) ultimate boon 9) return 10) Apotheosis * Initiation pattern: 1) call to adventure 2) refusal to call (whinner, just a kid) 3) supernatural aid 4) crossing of the first threshold (test) 5) road of trials 6) meeting with the goddess (who is often a temptress) 7) atonement with father 8) ultimate boon 9) return 10) Apotheosis The movie Grease 11.

15:20 * A favorite device is decomposition * Why does a hero need a sidekick? * Initiation pattern: 1) call to adventure 2) refusal to call (whiner, just a kid) 3) supernatural aid 4) crossing of the first threshold (test) 5) road of trials 6) meeting with the goddess (who is often a temptress) 7) atonement with father 8) ultimate boon 9) return 10) Apotheosis 2001: A Space Odyssey * * Gilgamesh: Babylonian Epic King of Uruk cuneiform * “Lordly in appearance, he walks out in front, the leader, casts a mighty net, protector of his people†“It was he who crossed the Ocean the vast seas, to the rising sun, who explored the world regions, two-thirds of him is god, one-third of him is human†Gilgamesh and Endiku * Humbaba the Terrible * spurns Ishtar ONLY THEN does Anu send Bull of Heaven “See here now, I will recite the list of your lovers.

Tammuz, the lover of your early youth, for him you have ordained lamentations year upon year. You loved the stallion, famed in battle, yet you ordained for him the whip, the goad, and the lash†* The hero experiences Death Gilgamesh and Siduri Utnapishtim-flood survivor Charon and River Styx Near Eastern plant of immortality * Judgment of Paris Hera Athena Aphrodite Hermes Paris Hermes as messenger of the gods Caduceus = magical staff * Hermes Argos Io (cow) Hermes’ epithet “Argos slayer†* His attributes: Caduceus Winged boots Traveling hat AMA Symbol * Hermes with Sarpedon, son of Zeus * Hermes†Psychopompos†= leader of souls * Hermes, god of shepards, thieves, etc. Herm statue Boundaries and motion between them * And then Maia bore a child of many turns, of wheddling wiles, a robber, a cattle rustler, a leader of dreams, one who keeps watch for night and lurks at gates, who would soon show forth famous deeds among the immortal gods (hymn lines 13-16). (Maia = “bashful daughter of Atlas with Zeusâ€) HOMERIC HYMN TO HERMES , ca.

550 B.C. * "Let me pick you up and take you inside, where I'm sure I can use you. You'll be treated with all respect, since first you will benefit me. You'd be safer inside the house, for the outdoors is always a danger." * Apollo, Muse, and Lyre * After the turtle incident, Hermes Begins to play music and sing He sings a Theogony; cave of Maia described as “beautiful, and full of rich tripods and bowls†THEN WHAT? *

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The Acropolis: A Celebration of Athenian Victory and Empire from the Archaic to the Classical Period
The Acropolis of Athens is not merely a set of ancient structures; it embodies the very essence of Athenian democracy, cultural sophistication, and military might. This high rocky outcrop overlooking Athens served as a sanctuary to the goddess Athena and the nucleus for Athenian civic life from the Archaic to the Classical period. Following the Persian sack of Athens in 480 B.C., a monumental transformation took place on the Acropolis, symbolizing Athenian resilience and pride in their democratic values and military successes. This essay explores the significance of the Acropolis as a celebration of Athenian victory and empire through its architectural grandeur, art, processions, and festivals that define the era.

Architectural Marvels

The Parthenon, a temple dedicated to Athena Parthenos (Athena the Virgin), is arguably the most renowned architectural achievement on the Acropolis (Neils, 2005). Designed by the architects Ictinus and Callicrates and sculpted by Phidias, the Parthenon embodies the Classical ideals of harmony, balance, and proportion, and stands as a testament to Athenian political power and artistic influence. The use of optical refinements, such as curved columns or entasis, showcases the sophisticated architectural techniques employed to create an illusion of perfection (Stuart, 2012).

The Processional Architecture and the Panathenaic Festival

Central to the Athenian identity was the Panathenaic Festival, celebrating Athena as the city protector and showcasing Athenian unity and strength. The processional route, leading from the city to the Acropolis, included notable structures such as the Propylaea, the monumental gateway (Morris, 2007). During the festival, the presentation of a new robe (peplos) for Athena became a quintessential part of the celebrations, performed by select maidens of Athens, known as the Ergastinai (Pollitt, 1990). This event was emblematic of both devotion to the goddess and the Athenian sense of community.
The Erechtheum, another distinctive structure on the Acropolis, is often associated with the mythical foundation of the Athenian city-state. It housed sacred relics and served as a site where myths of autochthony, or the belief that Athenians were born from the soil of their land, were celebrated (Jameson, 1988). This was vital in establishing Athenian identity toward founding myths.

Iconography and Sculpture

The Parthenon's decoration features sculptural reliefs that tell stories of Athenian triumphs and the heroism of its citizens. The metopes of the Parthenon depict battles between Greeks and various mythological creatures, such as the Centaurs and Amazons, symbolizing the struggle between civilization and barbarism (Lang 2007). Additionally, the Panathenaic Frieze, an ionic relief wrapping the Parthenon, depicts the Panathenaic procession in which Athenians carried offerings to Athena, signifying their loyalty and tribute to their patroness (Stone, 1997).
A notable scene within the frieze is the mythological contest between Athena and Poseidon, portraying Athena's wisdom and strategic capabilities as fundamental to the city's success. Compared to Poseidon's brute force, the victory of Athena illustrates the Athenian belief in intelligence and civic virtue as essential components of their civilization (Neils, 2005).

Emblematic Figures of the Acropolis

Athena herself represents the physical embodiment of Athenian ideals. Represented in various forms, including Athena Promachos, the warrior goddess poised for battle, she signifies the protective nature of the city and its military accomplishments (Connelly, 2007). In juxtaposition, the statue of Athena Polias embodies the goddess as the city’s guardian, differentiating her roles within Athenian society.
Additionally, the myth of Arachne, intertwined with the goddess Athena’s narrative, outlines themes of hubris and the consequences of challenging divine beings. This myth parallels the Athenian experience, where the tension between the aspirations of the polis and its ultimate reliance upon divine favor played a potent rhetorical role (Schneider, 2013).

The Role of Festivals and Competitions

The Panathenaic Games, held in Athens on the same day as the festival, served as a platform for celebrating martial prowess and individual civic identity. Athletes competed for prestigious prizes, including amphorae filled with oil, showcasing not just prowess, but the rich cultural fabric of Athens (Miller, 2004). The games served as both a spectacle and a means to reinforce communal identity amidst a backdrop of competitive athleticism.

Conclusion

From its monumental architecture to its rich artistic expressions, the Acropolis stands as a powerful symbol of Athenian victory and empire. The transformation of the Acropolis following the Persian sack marks a significant cultural and political statement in Athenian history. Festivals such as the Panathenaic and games highlighted the city's value placed on communal identity, honor, and the celebration of their patroness, Athena. The Acropolis, thus, transcends its physical form; it encapsulates the spirit of a city that thrived on the principles of democracy, artistry, and military triumph.
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References:
1. Connelly, J. B. (2007). Portrait of a Priestess: Women and Ritual in Ancient Greece. Princeton University Press.
2. Jameson, M. H. (1988). The City of Athens: An Introduction. University of Chicago Press.
3. Lang, P. (2007). The Parthenon: From Antiquity to the Present. Cambridge University Press.
4. Miller, S. G. (2004). Ancient Greek Athletics. Yale University Press.
5. Morris, I. (2007). The Birth of the West: Rome, Greece, and the Making of the Modern World. HarperCollins.
6. Neils, J. (2005). The Parthenon: From Antiquity to the Present. Cambridge University Press.
7. Pollitt, J. J. (1990). Art in the Hellenistic Age. Cambridge University Press.
8. Schneider, J. (2013). Arachne's Art: The Significance of Weaving in Greek Myth and Culture. University of California Press.
9. Stone, I. (1997). The Thematic Structure of the Panathenaic Frieze. Hesperia.
10. Stuart, I. (2012). The Parthenon: A New History. Thames & Hudson.
These references provide a foundation for the discussion surrounding the Acropolis and its role as a monument to Athenian military prowess, cultural strength, and religious devotion.