#ancientgreece — Public Fediverse posts

Spartan warriors engage in philosophical debates amidst a sprawling ancient Greek cityscape.

#Spartan #AncientGreece #Philosophy #History #Illustration

AO THROWBACK: Aphrodite: The True Origins of the Greek Goddess of Love, Sex, and Beauty
📈 Trending with 100K+ readers! Share your thoughts below! 💭
https://www.ancient-origins.net/news/aphrodite-true-origins-greek-goddess-love-sex-and-beauty-002170
#AncientOrigins #History #Archaeology #AncientGreece #GreekMythology #HumanOrigins #Evolution #Past #HistoryFacts #Heritage

Pulled from the sea in 1901, the Antikythera Mechanism used intricate bronze gears to calculate the heavens—and more than half remains missing today.
#AntikytheraMechanism #AncientGreece #AncientTechnology #Archaeology #AncientHistory #AncientArtifacts
Read more:https://www.ancient-origins.net/artifacts-ancient-technology/115-years-sensational-discovery-world-s-first-analogue-computer-008091

As mentioned before, the topic of historical games is currently reorganized on our #wiki. And that line of work brought us the latest subpage, a transcription of a #publicDomain article "Musical Games of Antiquity" by J. F. Rowbotham from 1899:

http://musicgames.wikidot.com/source:rowbotham-musical-games-of-antiquity

The central activity in the text is "The Cottabos" consisting of throwing wine to a cup and listening to the sound...

If you see any flaws on the page you'll need to say here -- "sources" category is editable only for moderators.
Suggestions always welcome! :)

#ethnomusicology #musicHistory #ancientGreece

Μερικές σκέψεις για την Οδύσσεια του Nolan.

Τώρα λοιπόν που η διαφημιστική καμπάνια της Οδύσσειας του Nolan έχει σχεδόν ολοκληρωθεί και οι συζητήσεις για το έργο αρχίζουν να γίνονται παρωχημένες, εγώ βρήκα λίγο χρόνο για να γράψω δυο σκέψεις.

Το πλέον πολυσυζητημένο ζήτημα είναι η επιλογή μίας Μαύρης ηθοποιού, της Lupita Nyong'o για το ρόλο της Ωραίας Ελένης, αν και τελικά αυτή η συζήτηση συμπυκνώνει ένα μεγαλύτερο θέμα, το κατά πόσο το κοινό έχει τη διάθεση να δεχτεί τον έντονο woke χαρακτήρα που διακατέχει όλη την ταινία. Δυστυχώς, στο δημόσιο διάλογο αυτή η σκηνοθετική επιλογή εγκλωβίστηκε σε ένα δίπολο μεταξύ ακροδεξιών από την μία, και (κυρίως κεντροαριστερών) δικαιωματιστών από την άλλη, ενώ τα επιχειρήματα που βρίσκονταν εκτός του δίπολου ελάχιστα ακούστηκαν. Η αντικειμενικά προκλητική κίνηση του Nolan να προβάλει μία Μαύρη Ωραία Ελένη ενεργοποίησε τον κάθε ρατσιστή και το internet γέμισε με μισαλλόδοξες ανοησίες. Απέναντι σε αυτόν τον εύκολα γελοιοποιήσιμο αντίπαλο στάθηκε πλήθος δικαιωματιστών όπου προς υπεράσπιση της δικής τους ατζέντας επιδίωξε να παρουσιάσει κάθε κριτική που δέχτηκε το casting ως ακροδεξιά. Είναι όμως έτσι;

Πόσο συμφωνούμε με τις αναρίθμητες Χολιγουντιανές ταινίες για σαμουράι, ιθαγενείς, και άλλες φυλές, όπου οι πρωταγωνιστές είναι Λευκοί Αμερικάνοι; Αλλά και πόσο θα συμφωνούσαμε αν βλέπαμε μία ταινία για Βίκινγκ με πρωταγωνιστές Μαύρους; Το πρόβλημα εδώ δεν είναι αποκλειστικά οι Μαύροι, αλλά η ψευδής προβολή της κοινωνίας ως πολυφυλετικής, αποτελούμενη επίσης από Ασιάτες, Ινδούς, Λατινοαμερικάνους, και Ευρωπαίους. Ενώ το Μεσογειακό στοιχείο είναι σχεδόν εξαφανισμένο.

Όταν κάνεις μία ταινία για ένα συγκεκριμένο λαό και μία συγκεκριμένη γεωγραφική περιοχή, ο μόνος τρόπος να σεβαστείς την εικόνα του ως προς την αναπαράστασή του στη μεγάλη οθόνη είναι μέσα από την υιοθέτηση των ιδιαίτερων χαρακτηριστικών του, έστω εν μέρει. Και οι Αχαιοί του τότε, δεν είχαν αυτά τα πολυφυλετικά χαρακτηριστικά.

Ο Nolan δεν κάνει ούτε την παραμικρή προσπάθεια για να φτιάξει μία ταινία που έστω να προσεγγίζει την ιστορική πραγματικότητα. Το τοπίο όπου διαδραματίζεται η ταινία είναι σκοτεινό (με μία εμμονική προσκόλληση στον πορτοκαλί φωτισμό για να δίνει ένταση), το σεξ έχει διαγραφεί ώστε το προϊόν να είναι family-friendly, τα κουστούμια δε θυμίζουν την ενδυμασία της εποχής (λευκές και μαύρες πανοπλίες δίχως χρηστική αξία για να τονιστεί η αντίθεση ανάμεσα σε καλό-κακό, για εικαστικούς λόγους η Αθηνά φοράει μαντίλι, κ.λπ.), και οι χορογραφημένες μαχητικές σκηνές δεν έχουν τίποτα το ρεαλιστικό (κατά την άλωση της Τροίας δε φόραγαν καν περικεφαλαίες). Η σύνθεση της κοινωνίας δεν έχει σχεδόν κανένα στοιχείο από Ελληνικές και Μεσογειακές φυλές, ενώ περιέχει ένα τρανς άτομο.

Αντιθέτως, επιδιώκεται η αναπαράσταση των κοινωνικών χαρακτηριστικών των Ηνωμένων Πολιτειών του σήμερα. Μίας κοινωνίας με έντονες εσωτερικές αντιθέσεις (συμπεριλαμβανομένων των φυλετικών) που προσπαθεί να αποδείξει στον εαυτό της ότι οι αντιθέσεις της μπορούν να ξεπεραστούν ώστε ενωμένη και ισχυρή να διατηρήσει την παγκόσμια κυριαρχία.

Γίνεται εμφανές με τον πλέον εμβληματικό τρόπο, ότι το πολύκροτο “whitewashing” δεν εξαλείφθηκε καθόλου, αλλά μεταλλάχτηκε σε “usa-washing”. Καπηλεύεται πολιτισμικά στοιχεία ενός άλλου λαού, τον οποίο και εξοβελίζει από την αναπαράσταση στην οθόνη. Οι Αχαιοί μέσα από τον στρεβλό φακό του Hollywood απεκδύονται των ιδιαίτερων πολιτισμικών τους χαρακτηριστικών για να προσαρμοστούν στην προκρούστεια κλίνη των αμερικανικών προτύπων. Η Οδύσσεια του Nolan δεν είναι παρά άλλο ένα παράδειγμα πολιτισμικού ιμπεριαλισμού.

Επειδή η ταινία προορίζεται για το αμερικανικό κοινό, διακατέχεται παντού από επεξηγήσεις για το τι συμβαίνει και σε ποιο πλαίσιο διαδραματίζονται τα γεγονότα, μία συνθήκη που την καθιστά εύπεπτη. Χαρακτηριστική είναι η ατάκα του Οδυσσέα ότι «Η Εποχή μας του Χαλκού, καταρρέει» σα να γνώριζε ότι οι ιστορικοί του μέλλοντος θα ονόμαζαν εκείνη την περίοδο ως «Εποχή του Χαλκού». Πέρα όμως από το εμφανές γελοίο, πρέπει να διακρίνουμε ότι αυτή η φράση έχει μία αυξημένη βαρύτητα για το αμερικανικό κοινό όπου αισθάνεται την αυτοκρατορία των ΗΠΑ να καταρρέει κι επομένως ταυτίζεται.

Ακόμη, η ταινία διαδίδει ένα ξεκάθαρο αντιπολεμικό μήνυμα όταν ο πόλεμος ΗΠΑ-Ιράν βρίσκεται στο αποκορύφωμά του, ο συγχρονισμός αυτών των γεγονότων πολλαπλασιάζει την επιρροή της ταινίας αν κι ενδεχομένως να προέκυψε τυχαία. Το αμερικανικό κοινό παραλληλίζεται με τους Έλληνες όπου προβάλλονται ως οι «κακοί» που αρχίζουν έναν επιθετικό πόλεμο, με αποτέλεσμα να ενεργοποιούνται συναισθήματα ενοχής αντίστοιχα με αυτά που αναπτύσσει ο πρωταγωνιστής. Η φράση «προσευχηθείτε για συγχώρεση» όπου απευθύνεται στους συντρόφους του Οδυσσέα είναι και πάλι εκτός τόπου και χρόνου καθώς η αντίληψη ότι ο θεός λυπάται και συγχωρεί τους μετανοημένους είναι χριστιανική. Και πάλι όμως αν δεν προσκολληθούμε στην ιστορική αστοχία, μπορούμε να διακρίνουμε την προσπάθεια να δημιουργηθούν σημεία ταύτισης του σύγχρονου θρησκευόμενου κοινού με τους Αχαιούς. Το συναίσθημα της ενοχής που αναδύεται στο κοινό, φανερώνει έναν λαό που έχει επίγνωση των «αμαρτιών» του κι ελπίζει ότι θα συγχωρεθεί για τα βαμμένα με αίμα χέρια του.

Συνολικά, μπορώ να διακρίνω ότι στην Οδύσσεια του Nolan υπήρξε μία τίμια προσπάθεια να αγγιχθούν ορισμένες ευαίσθητες χορδές του αμερικάνικου κοινού, ωστόσο αυτή η προσπάθεια δεν αρκεί για να σώσει την ταινία. Στον πυρήνα της βρίσκεται η πολιτισμική προπαγάνδα μίας αυτοκρατορίας που αφού σε κυριεύσει με βία (είτε φυσική, είτε οικονομική), μετά θα προσπαθήσει να σε πείσει ότι σε «ανέχεται» γιατί είναι «συμπεριληπτική». Ο δυτικός δικαιωματισμός δεν είναι παρά το ξέπλυμα ενός αιματοβαμμένου επεκτατισμού.

#Nolan #ChristopherNolan #Odyssey #Filmmaking #Movie #ancientgreece #ancient #Greece #Homer #imperialism #USA #Propaganda

https://www.fromoldbooks.org/Sachsen-Odyssey/pages/001-chapterhead/

Another engraving from Homer’s Odyssey. Seems like a good time for them :-)

This time i included the border, which is also used for the full-page illustrations.

Can you tell me more about what’s going on here? This is at the start of the poem. See Web page for my uninformed guesses :-)

#vintageEngraving #vintageArt #fobo #Homer #Odysseus #Odysee #Odyssey #ancientGreece #chapterHead #engraving

So, I read an excellent essay about #ToxicMasculinity a few years ago. Pretty much, it has to do with #hierarchy (#capitalism / #colonialism) making men feel powerless -- so they bully other men for dominance, and the result is dominating attitudes toward those perceived as lower in status (women, girls, foreigners, etc).

In many ways, it goes way back to #AncientGreece -- pretty much, the only ones who had any rights at all were landowning men who were Greek citizens. And, of course, power, wealth and status dominating over those dominated men. #TheOdyssey and #Odysseus' attitude toward women (other than Penelope), those of lesser status, and foreigners -- was typical of the Achaean male viewpoint.

@Remittancegirl @Crystal_Fish_Caves

So, I read an excellent essay about #ToxicMasculinity a few years ago. Pretty much, it has to do with #hierarchy (#capitalism / #colonialism) making men feel powerless -- so they bully other men for dominance, and the result is dominating attitudes toward those perceived as lower in status (women, girls, foreigners, etc).

In many ways, it goes way back to #AncientGreece -- pretty much, the only ones who had any rights at all were landowning men who were Greek citizens. And, of course, power, wealth and status dominating over those dominated men. #TheOdyssey and #Odysseus' attitude toward women (other than Penelope), those of lesser status, and foreigners -- was typical of the Achaean male viewpoint.

@Remittancegirl @Crystal_Fish_Caves

So, I read an excellent essay about #ToxicMasculinity a few years ago. Pretty much, it has to do with #hierarchy (#capitalism / #colonialism) making men feel powerless -- so they bully other men for dominance, and the result is dominating attitudes toward those perceived as lower in status (women, girls, foreigners, etc).

In many ways, it goes way back to #AncientGreece -- pretty much, the only ones who had any rights at all were landowning men who were Greek citizens. And, of course, power, wealth and status dominating over those dominated men. #TheOdyssey and #Odysseus' attitude toward women (other than Penelope), those of lesser status, and foreigners -- was typical of the Achaean male viewpoint.

@Remittancegirl @Crystal_Fish_Caves

So, I read an excellent essay about #ToxicMasculinity a few years ago. Pretty much, it has to do with #hierarchy (#capitalism / #colonialism) making men feel powerless -- so they bully other men for dominance, and the result is dominating attitudes toward those perceived as lower in status (women, girls, foreigners, etc).

In many ways, it goes way back to #AncientGreece -- pretty much, the only ones who had any rights at all were landowning men who were Greek citizens. And, of course, power, wealth and status dominating over those dominated men. #TheOdyssey and #Odysseus' attitude toward women (other than Penelope), those of lesser status, and foreigners -- was typical of the Achaean male viewpoint.

@Remittancegirl @Crystal_Fish_Caves

So, I read an excellent essay about #ToxicMasculinity a few years ago. Pretty much, it has to do with #hierarchy (#capitalism / #colonialism) making men feel powerless -- so they bully other men for dominance, and the result is dominating attitudes toward those perceived as lower in status (women, girls, foreigners, etc).

In many ways, it goes way back to #AncientGreece -- pretty much, the only ones who had any rights at all were landowning men who were Greek citizens. And, of course, power, wealth and status dominating over those dominated men. #TheOdyssey and #Odysseus' attitude toward women (other than Penelope), those of lesser status, and foreigners -- was typical of the Achaean male viewpoint.

@Remittancegirl @Crystal_Fish_Caves

RE: https://mastodon.social/@ancientorigins/117014073025016015

https://en.wikipedia.org/wiki/Dragon_houses
#archaeology #curious #DragonHouses #Δρακόσπιτα #ΔρακόσπιτοτηςΌχης #Euboea #BronzeAge #IronAge #MountOchi
#NotYetKnown
#NotWooWoo
#Greek #Greece #Ancient #AncientGreece

OUCH! The Translator of #TheOdyssey Just Slammed #ChristopherNolan’s Movie

“I would be ashamed to have written any part of this script,” wrote #EmilyWilson, the first woman to translate The Odyssey into English.

By Josh OsmanPublished: Jul 27, 2026 1:20 PM EDT

Excerpt: "Throughout her piece, the scholar notes that no adaptation should necessarily follow an original exactly. (In fact, she praises some radically reinterpretations of The Odyssey, including #MargaretAtwood's #Penelopiad, #MadelineMiller's #Circe, and other literary classics that riff off the text, including those of #Euripides, #JohnMilton, and #JamesJoyce.)"

Read more:
https://www.esquire.com/entertainment/movies/a73274736/emily-wilson-christopher-nolan-odyssey-review/

#ClassicsBookClub #Classics #Movies #Homer #AncientGreece #ReadABook

Leaving you all with this quote from #Hippocrates...

"Everything in excess is opposed to nature."

#SolarPunkSunday #Capitalism #CircularEconomy #SharingEconomy #Degrowth #Philosophy #Earth4All #AncientGreece #Greed

The Reality of Dreams

https://johnbronze.wordpress.com/2026/07/24/the-reality-of-dreams/

https://www.amazon.com/stores/Dimitar-Alekseev-Dimitrov/author/B09NBZDC9S?ref=ap_rdr&isDramIntegrated=true&shoppingPortalEnabled=true&ccs_id=36146abe-59bc-436f-bfaf-90f69f895915
#alien #aliens #ancienthistory #ancientegypt #ancientcivilizations #ancientindia #ancientmesopotamia #ancientwisdom #ancientgreece #atlantis #anunnaki #baalbek #celticculture #celts #celticgods #dilmun #dumuzi #enki #enlil #eridu #greatpyramid #gizapyramids #giza #pyramidsofegypt #egyptianpyramids #egypt #gunungpadang #lemuria #Osiris #Seth #isis #egyptiangods #kukulkan #quetzalcoatl #viracocha #incas #aztec #aztechistory #aztecgods #mayans

Backstage Burrow Ep3-2026: Pipe Dreams

🎶🐰 Dive into the fascinating history of music with the Hydraulis, an ancient marvel from 3rd century BCE! Discover how Ctesibius of Alexandria invented the world's first keyboard instrument, revolutionizing sound and harmony and paving the way for Western music traditions. 🎹✨

#hydraulis #organ #musichistory #musictechnology #ancientgreece #romanempire #middleages #charlemagne #keyboardinstruments #backstageburrow #rabbithole

https://www.youtube.com/watch?v=kK_UQvLRJ9Y

@kris_of_pnictogen I mean, water into wine? Who can think of a more #Dionysian miracle?!!!

#Dionysus #HistoryOfReligions #AncientGreece #Christianity

While home spaces were not as gendered as those in #AncientGreece, this article talks about how spaces in Rome were also somewhat gendered -- and in his attack against #Clodia, #Cicero used Clodia's defiance of those norms against her!

#Scandalisation, #gender and space in #AncientRome: The case of #Cicero and #Clodia

by Muriel Moser
First published: 17 June 2024

"Ciceros thus uses different notions of space for his argument. First, by drawing up a moral landscape of her shameful deeds, Cicero seeks to emphasise the magnitude of her guilt [as an adulteress and murderer of her husband]. Second, built spaces are important for Cicero's argument because they allow him to ‘reveal’ Clodia's private acts, that is, acts that occurred in private spaces, to his male audience in a public space in a dramatic way, thus offering entertainment and creating outrage. Finally, Cicero is able to present her acts as shameful and problematic by blurring built spaces with gendered social spaces.

"This last aspect of his use of space is particularly complex and perfidious and made possible not least by the fluidity of the spatial concepts at work in a #domus and other ‘private’ places, such as gardens and provincial villas. Take the Roman domus: Cicero could use several levels of meaning in this term. A Roman domus was a physical location with a strong symbolic value. It was considered to be the seat of a family, to the point that the term could be equated with the family itself. And, as the family stood at the heart of the Roman moral order, the domus also had a strong #moral connotation The Roman house was, further, a political and hence a public site: it was used to conduct political business, to make connections and to present the public image of the house's owner. It is likely that Clodia received her guests in the atrium, the centre of the public part of the domus, or in an adjacent room (cubiculum) more suitable for private business, but it is difficult to map these roles onto specific areas within the Roman domus. Roman houses were not divided into a ‘public’ and a ‘non-public’ area: some areas were clearly intended for interaction with people outside the household, such as members of the public, guests or supplicants, while other parts were reserved for the life of the family and the business of the household, but there was no clear dichotomy, the separation of these spaces being fluid, with gradations of privacy.

"It is this fluidity that allows Cicero uses spatial references to make Clodia scandalous. For it allows him blur the division between built spaces used by women and conceptual or social spaces, notably politics, that were reserved for men. In this way, Cicero is able to construct Clodia's social events as #transgressions into #MaleSocialSpace. How is this achieved? Having ascribed each of her acts to a specific space as noted above, he turned events that (if they happened at all) would otherwise have been accessible to at most a few people – the goings-on inside Clodia's house (domus) in Rome, in her private garden by the Tiber or at her country house at Baiae – into the public object of the trial of Caelius. In so doing, Cicero accused her of having used these built spaces in a manner that had infringed on social spaces that were unsuitable for respectful women, because they were, so he insinuated, reserved for men. It is the infringement of these #gendered social spaces that constitute her worst transgression according to Cicero."

Read more:
https://onlinelibrary.wiley.com/doi/full/10.1111/1468-0424.12794

#RomanWomen #RomanHistory #Patriarchy #Rome #WomensRights

While home spaces were not as gendered as those in #AncientGreece, this article talks about how spaces in Rome were also somewhat gendered -- and in his attack against #Clodia, #Cicero used Clodia's defiance of those norms against her!

#Scandalisation, #gender and space in #AncientRome: The case of #Cicero and #Clodia

by Muriel Moser
First published: 17 June 2024

"Ciceros thus uses different notions of space for his argument. First, by drawing up a moral landscape of her shameful deeds, Cicero seeks to emphasise the magnitude of her guilt [as an adulteress and murderer of her husband]. Second, built spaces are important for Cicero's argument because they allow him to ‘reveal’ Clodia's private acts, that is, acts that occurred in private spaces, to his male audience in a public space in a dramatic way, thus offering entertainment and creating outrage. Finally, Cicero is able to present her acts as shameful and problematic by blurring built spaces with gendered social spaces.

"This last aspect of his use of space is particularly complex and perfidious and made possible not least by the fluidity of the spatial concepts at work in a #domus and other ‘private’ places, such as gardens and provincial villas. Take the Roman domus: Cicero could use several levels of meaning in this term. A Roman domus was a physical location with a strong symbolic value. It was considered to be the seat of a family, to the point that the term could be equated with the family itself. And, as the family stood at the heart of the Roman moral order, the domus also had a strong #moral connotation The Roman house was, further, a political and hence a public site: it was used to conduct political business, to make connections and to present the public image of the house's owner. It is likely that Clodia received her guests in the atrium, the centre of the public part of the domus, or in an adjacent room (cubiculum) more suitable for private business, but it is difficult to map these roles onto specific areas within the Roman domus. Roman houses were not divided into a ‘public’ and a ‘non-public’ area: some areas were clearly intended for interaction with people outside the household, such as members of the public, guests or supplicants, while other parts were reserved for the life of the family and the business of the household, but there was no clear dichotomy, the separation of these spaces being fluid, with gradations of privacy.

"It is this fluidity that allows Cicero uses spatial references to make Clodia scandalous. For it allows him blur the division between built spaces used by women and conceptual or social spaces, notably politics, that were reserved for men. In this way, Cicero is able to construct Clodia's social events as #transgressions into #MaleSocialSpace. How is this achieved? Having ascribed each of her acts to a specific space as noted above, he turned events that (if they happened at all) would otherwise have been accessible to at most a few people – the goings-on inside Clodia's house (domus) in Rome, in her private garden by the Tiber or at her country house at Baiae – into the public object of the trial of Caelius. In so doing, Cicero accused her of having used these built spaces in a manner that had infringed on social spaces that were unsuitable for respectful women, because they were, so he insinuated, reserved for men. It is the infringement of these #gendered social spaces that constitute her worst transgression according to Cicero."

Read more:
https://onlinelibrary.wiley.com/doi/full/10.1111/1468-0424.12794

#RomanWomen #RomanHistory #Patriarchy #Rome #WomensRights

While home spaces were not as gendered as those in #AncientGreece, this article talks about how spaces in Rome were also somewhat gendered -- and in his attack against #Clodia, #Cicero used Clodia's defiance of those norms against her!

#Scandalisation, #gender and space in #AncientRome: The case of #Cicero and #Clodia

by Muriel Moser
First published: 17 June 2024

"Ciceros thus uses different notions of space for his argument. First, by drawing up a moral landscape of her shameful deeds, Cicero seeks to emphasise the magnitude of her guilt [as an adulteress and murderer of her husband]. Second, built spaces are important for Cicero's argument because they allow him to ‘reveal’ Clodia's private acts, that is, acts that occurred in private spaces, to his male audience in a public space in a dramatic way, thus offering entertainment and creating outrage. Finally, Cicero is able to present her acts as shameful and problematic by blurring built spaces with gendered social spaces.

"This last aspect of his use of space is particularly complex and perfidious and made possible not least by the fluidity of the spatial concepts at work in a #domus and other ‘private’ places, such as gardens and provincial villas. Take the Roman domus: Cicero could use several levels of meaning in this term. A Roman domus was a physical location with a strong symbolic value. It was considered to be the seat of a family, to the point that the term could be equated with the family itself. And, as the family stood at the heart of the Roman moral order, the domus also had a strong #moral connotation The Roman house was, further, a political and hence a public site: it was used to conduct political business, to make connections and to present the public image of the house's owner. It is likely that Clodia received her guests in the atrium, the centre of the public part of the domus, or in an adjacent room (cubiculum) more suitable for private business, but it is difficult to map these roles onto specific areas within the Roman domus. Roman houses were not divided into a ‘public’ and a ‘non-public’ area: some areas were clearly intended for interaction with people outside the household, such as members of the public, guests or supplicants, while other parts were reserved for the life of the family and the business of the household, but there was no clear dichotomy, the separation of these spaces being fluid, with gradations of privacy.

"It is this fluidity that allows Cicero uses spatial references to make Clodia scandalous. For it allows him blur the division between built spaces used by women and conceptual or social spaces, notably politics, that were reserved for men. In this way, Cicero is able to construct Clodia's social events as #transgressions into #MaleSocialSpace. How is this achieved? Having ascribed each of her acts to a specific space as noted above, he turned events that (if they happened at all) would otherwise have been accessible to at most a few people – the goings-on inside Clodia's house (domus) in Rome, in her private garden by the Tiber or at her country house at Baiae – into the public object of the trial of Caelius. In so doing, Cicero accused her of having used these built spaces in a manner that had infringed on social spaces that were unsuitable for respectful women, because they were, so he insinuated, reserved for men. It is the infringement of these #gendered social spaces that constitute her worst transgression according to Cicero."

Read more:
https://onlinelibrary.wiley.com/doi/full/10.1111/1468-0424.12794

#RomanWomen #RomanHistory #Patriarchy #Rome #WomensRights

While home spaces were not as gendered as those in #AncientGreece, this article talks about how spaces in Rome were also somewhat gendered -- and in his attack against #Clodia, #Cicero used Clodia's defiance of those norms against her!

#Scandalisation, #gender and space in #AncientRome: The case of #Cicero and #Clodia

by Muriel Moser
First published: 17 June 2024

"Ciceros thus uses different notions of space for his argument. First, by drawing up a moral landscape of her shameful deeds, Cicero seeks to emphasise the magnitude of her guilt [as an adulteress and murderer of her husband]. Second, built spaces are important for Cicero's argument because they allow him to ‘reveal’ Clodia's private acts, that is, acts that occurred in private spaces, to his male audience in a public space in a dramatic way, thus offering entertainment and creating outrage. Finally, Cicero is able to present her acts as shameful and problematic by blurring built spaces with gendered social spaces.

"This last aspect of his use of space is particularly complex and perfidious and made possible not least by the fluidity of the spatial concepts at work in a #domus and other ‘private’ places, such as gardens and provincial villas. Take the Roman domus: Cicero could use several levels of meaning in this term. A Roman domus was a physical location with a strong symbolic value. It was considered to be the seat of a family, to the point that the term could be equated with the family itself. And, as the family stood at the heart of the Roman moral order, the domus also had a strong #moral connotation The Roman house was, further, a political and hence a public site: it was used to conduct political business, to make connections and to present the public image of the house's owner. It is likely that Clodia received her guests in the atrium, the centre of the public part of the domus, or in an adjacent room (cubiculum) more suitable for private business, but it is difficult to map these roles onto specific areas within the Roman domus. Roman houses were not divided into a ‘public’ and a ‘non-public’ area: some areas were clearly intended for interaction with people outside the household, such as members of the public, guests or supplicants, while other parts were reserved for the life of the family and the business of the household, but there was no clear dichotomy, the separation of these spaces being fluid, with gradations of privacy.

"It is this fluidity that allows Cicero uses spatial references to make Clodia scandalous. For it allows him blur the division between built spaces used by women and conceptual or social spaces, notably politics, that were reserved for men. In this way, Cicero is able to construct Clodia's social events as #transgressions into #MaleSocialSpace. How is this achieved? Having ascribed each of her acts to a specific space as noted above, he turned events that (if they happened at all) would otherwise have been accessible to at most a few people – the goings-on inside Clodia's house (domus) in Rome, in her private garden by the Tiber or at her country house at Baiae – into the public object of the trial of Caelius. In so doing, Cicero accused her of having used these built spaces in a manner that had infringed on social spaces that were unsuitable for respectful women, because they were, so he insinuated, reserved for men. It is the infringement of these #gendered social spaces that constitute her worst transgression according to Cicero."

Read more:
https://onlinelibrary.wiley.com/doi/full/10.1111/1468-0424.12794

#RomanWomen #RomanHistory #Patriarchy #Rome #WomensRights

While home spaces were not as gendered as those in #AncientGreece, this article talks about how spaces in Rome were also somewhat gendered -- and in his attack against #Clodia, #Cicero used Clodia's defiance of those norms against her!

#Scandalisation, #gender and space in #AncientRome: The case of #Cicero and #Clodia

by Muriel Moser
First published: 17 June 2024

"Ciceros thus uses different notions of space for his argument. First, by drawing up a moral landscape of her shameful deeds, Cicero seeks to emphasise the magnitude of her guilt [as an adulteress and murderer of her husband]. Second, built spaces are important for Cicero's argument because they allow him to ‘reveal’ Clodia's private acts, that is, acts that occurred in private spaces, to his male audience in a public space in a dramatic way, thus offering entertainment and creating outrage. Finally, Cicero is able to present her acts as shameful and problematic by blurring built spaces with gendered social spaces.

"This last aspect of his use of space is particularly complex and perfidious and made possible not least by the fluidity of the spatial concepts at work in a #domus and other ‘private’ places, such as gardens and provincial villas. Take the Roman domus: Cicero could use several levels of meaning in this term. A Roman domus was a physical location with a strong symbolic value. It was considered to be the seat of a family, to the point that the term could be equated with the family itself. And, as the family stood at the heart of the Roman moral order, the domus also had a strong #moral connotation The Roman house was, further, a political and hence a public site: it was used to conduct political business, to make connections and to present the public image of the house's owner. It is likely that Clodia received her guests in the atrium, the centre of the public part of the domus, or in an adjacent room (cubiculum) more suitable for private business, but it is difficult to map these roles onto specific areas within the Roman domus. Roman houses were not divided into a ‘public’ and a ‘non-public’ area: some areas were clearly intended for interaction with people outside the household, such as members of the public, guests or supplicants, while other parts were reserved for the life of the family and the business of the household, but there was no clear dichotomy, the separation of these spaces being fluid, with gradations of privacy.

"It is this fluidity that allows Cicero uses spatial references to make Clodia scandalous. For it allows him blur the division between built spaces used by women and conceptual or social spaces, notably politics, that were reserved for men. In this way, Cicero is able to construct Clodia's social events as #transgressions into #MaleSocialSpace. How is this achieved? Having ascribed each of her acts to a specific space as noted above, he turned events that (if they happened at all) would otherwise have been accessible to at most a few people – the goings-on inside Clodia's house (domus) in Rome, in her private garden by the Tiber or at her country house at Baiae – into the public object of the trial of Caelius. In so doing, Cicero accused her of having used these built spaces in a manner that had infringed on social spaces that were unsuitable for respectful women, because they were, so he insinuated, reserved for men. It is the infringement of these #gendered social spaces that constitute her worst transgression according to Cicero."

Read more:
https://onlinelibrary.wiley.com/doi/full/10.1111/1468-0424.12794

#RomanWomen #RomanHistory #Patriarchy #Rome #WomensRights

𝗪𝗵𝗮𝘁 𝗜’𝗺 𝗥𝗲𝗮𝗱𝗶𝗻𝗴: "𝗧𝗵𝗲𝗼𝗴𝗼𝗻𝘆 𝗮𝗻𝗱 𝗪𝗼𝗿𝗸𝘀 & 𝗗𝗮𝘆𝘀" 𝗯𝘆 𝗛𝗲𝘀𝗶𝗼𝗱 -

Going way back now, one of Greece's earliest poets with the earliest versions of the Greek creation along with didactic verse of right behavior.

#books #bookreviews #bookworm #readreadread #tbr #tbrpile #tbrlist #quotes #reading #hesiod #theogony #worksanddays #greekmythology #poetry #ancientgreece #didacticpoetry #creationmyth

26-JUN-2024
Updated radiocarbon dates for the Greek shipwreck #Kyrenia
Study establishes revised radiocarbon calibration curve, tests dates on Greek #shipwrecks

https://www.eurekalert.org/news-releases/1048824 #science #archaeology #AncientGreece

#Books shipping to new homes this morning.

#BookSelling #bookstodon #rabelais #french #humanism ##religion #judaica #chassidic #mysticism #iamblichus #philosophy #AncientGreece #JoeSunpool #NativeAmerican #DonWilcox

@AdamMakesTTRPG

So... maybe this will help you out?

#TTRPG #TTRPGArt #artCommissionRequest #ArtCommission #AncientGreece #amphora

Ten years at war away from home,
Plus ten years on the sea, I roam
And wander as a fugitive.
I haven’t lost the will to live,
But I’ve lost count how many times
I paid for my unholy crimes
Or missed the mark (or some say sinned)
…It started with a bag of wind.

#riddlepoems #poetry #smallpoems #poetrycommunity #literature #epic #herosjourney #greekmythology #mythology #myth #legend #ancientgreece

Ancient civilizations have always fascinated me. As a side project, I'm delving into how Greece's rich heritage translates into modern media. 🏛️✨

Here is "Seikilos Moderna," composed by Daniel Hay, accompanied by a digital artwork featuring Euterpe, the muse of flute-playing.

https://youtu.be/FR0H06y28cg.

#AncientGreece #ModernMedia #PhDLife #MusicalAdventures #DigitalArtistry #EmbracingThePast #artisticresearch #flute #flautist #seikilos

The History of Philosophy Without Any Gaps is a great podcast and book series for an introduction to the topic, covering not only western philosophy back to Plato and Aristotle but also Indian, Islamic and Africana philosophy (and in the future Chinese too). The podcast is at https://historyofphilosophy.net/

#history #ancienthistory #philosophy #ancientgreece #ancientgreek #greekphilosophy #plato #aristotle #indianphilosophy #indianhistory #hindu #buddhist #buddhism #islam #muslim