This article examines the potential of art and archaeological remains for the study of women's social history in early Christianity. Part I considers important sources for art and archaeological data; the received method and classification criteria for the discipline of early Christian art and archaeology; and the types of problems both earlier and contemporary approaches to the material remains present for scholars. Part II proposes an approach to understanding early Christian art and material culture as part of a larger (...) ongoing social discourse in the ancient Mediterranean world where cultural representations take part in the lively social and aural culture of life lived in close proximity to others. This approach places art and archaeological evidence in the foreground and documentary sources in the background as corroborative evidence. (shrink)

In 1964 radiographs of an Egyptian mummy displayed by the, then, Gulbenkian Museum of Art and Archaeology in Durham revealed an artificial upper limb attached to a deformed lower forearm. The limb was removed for further study. It concluded that the deformity was due to pre-mortem, amputation above the wrist, the ancient embalmers applying a crude restoration. In 2005 the author undertook a detailed reappraisal of this restored limb. These findings now suggest that this individual exhibits a (...) congenital deformity to the upper limb. Such a proposal prompts a discourse on how deformity was perceived, not only by ancient Egyptian society but by those across the ancient world. Textual sources have been selected to highlight how perfection of the physical body was prized by some cultures, contrasting this with how those who exhibited ‘otherness’,were either accepted or marginalized. (shrink)

In his different analyses of ancient Egypt, Hegel underscores the marked absence of writings by the Egyptians. Unlike the Chinese with the I Ching or the Shoo king, the Indians with the Ramayana and the Mahabharata, the Persians with the Avesta, the Jews with the Old Testament, and the Greeks with the poems of Homer and Hesiod, the Egyptians, despite their developed system of hieroglyphic writing, left behind no great canonical text. Instead, he claims, they left their mark by (...) means of the architecture and art. This paper explores Hegel’s analysis of the Egyptians’ obelisks, pyramids, sphinxes, etc. in order to understand why he believes that these are so important for understanding the Egyptian spirit. This analysis illustrates Hegel’s use of history and culture in the service of philosophical anthropology. (shrink)

This paper discusses the relation between letters and numbers in the case of ancient Greek and, other writing systems and, supports that priority must be given to the numbers, that is to say the use of letters of the alphabet was constrained, by the necessities of mathematics. In the case of Ancient Greece the ‘24 letters of the alphabet’ plus ‘3 additional signs’ were used to notate the numbers. These 27 signs formed the three enneads of the Greek (...) Numeral System, which was in use in Eastern Mediterranean and parts of Europe for almost 2,000 years. So, the 24 letter-signs were also digit-signs. The arithmetic use of letters is considered by epigraphologists and Hellenists a later development, occurring two or three centuries after the invention of the Greek alphabet. This paper supports that, from the very beginning, the alphabet should, have had, 27 signs in order to meet the needs of mathematics, that is to meet the necessity of using the enneads of the Egyptian numeral system, which probably was transferred, to Greeks via the Semitic writing system. This hypothesis is based, on the contradictions which arise between the choice of signs and their use, from ancient Greek ‘Logistikē’, from archaeological finds and from the examples of other writing systems, which were also created so as to serve the needs of mathematics — namely Hebrew, Arabic, Coptic, Armenian, Georgian, and, other alphabets. Consequently, the alphabet should, not be considered, as a secondary system of signs, which was created, in order to record, the spoken word, but as a subset of a broader semiotic system that attempts to express human Reason in general. (shrink)

This article uses Egyptian burials of the Roman period as an entry point for considering aesthetics in relation to archaeology, ancient art, and human remains. Although some archaeologists and Egyptologists reject or ignore the concept of aesthetics, this article argues that it complements questions of ontology, materiality, and social practice that concern much contemporary archaeological thought. Moreover, engaging with aesthetics in the study of the ancient world requires archaeologists to reflect critically on the relationship between disciplinary (...) histories and knowledge production, and to recognize the influence that earlier aesthetic models, such as racial science, continue to exert in current aesthetic encounters with ancient Egypt and its dead. (shrink)

The ancient Egyptians and Dogon conceive that all elements of the universe operate in harmony. Therefore, the manner in which the Egyptians and Dogon express and experience their cosmologies must agree with this harmony. Using an African-centered approach, this study examines three key factors that define both cosmologies and allow for the full expression of harmony. The first key is Maat. Maat is the Egyptian principle of balance, order, justice, and harmony and is the fundamental descriptive characteristic of (...) the universe for the Egyptians and Dogon. The second key is myth. Myth discloses the sacred world. To the Dogon, myth represents the ultimate revelation of knowledge. In Egypt, creation narratives are told as myths. The third key is Nature. Nature provides the symbols, forms, images, behaviors, and objects used to express the cosmology. This study describes the place where these three factors converge. To do this, a multidisciplinary approach from philosophy, art, myth, and culture is used to provide context, because all have greatly influenced the perception of myth in culture. The articulation of Egyptian and Dogon stories of the universe is a feast for the tactile senses, challenging the mind, and able to be experienced through the simple activities of daily living. This study brings this to light. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Freud and Leonardo in Egypt DANIEL ORRELLS Stories of selfhood were central to the nineteenth -century cultural and literary imagination.1 For numerous intellectuals of the nineteenth century, the Italian Renaissance had become a privileged site for thinking about the emergence of the category of the individualized self in the history of the West, in a grand narrative about the rupture from ecclesiastical authority to secular and scientific thinking. The (...) life-story of Leonardo Da Vinci, artist and scientist, was a crucial example for nineteenth-century historiography about the origins of modern individualist subjectivity.2 It is hardly surprising, then, that Freud turned to concentrate on Leonardo in his 1910 biography of the Renaissance man, to construct the psychoanalytic account of the history of the self. What is remarkable and fascinating, however, is that ancient Egypt should be so important in Freud’s biography: it reveals Freud’s investment in Egyptology for the development of the psychoanalytic narrative of selfhood. If the Italian Renaissance was figured as the rebirth of Graeco-Roman paganism in the history of European culture, as late nineteenth-century commentators such as Walter Pater—read and imbibed by Freud—had argued, then what did ancient Egypt have to do with Leonardo?3 This essay excavates Freud’s fascination with the place of Egypt in understanding the beginnings of the self in his 1910 biography of Leonardo, whose pre-Oedipal relationship with his mother was crucial for Freud’s portrait of the Renaissance man. The complicated place of ancient Egypt within arion 28.3 winter 2021 106 freud and leonardo in egypt the modern European cultural imagination—both the object of linguistic and racial anthropologies and the archive of the truth of the biblical narrative—profoundly informed Freud’s psychobiography of Leonardo. On the one hand, the possibility that Egypt was at the origins of the story of what it means to be human—before Oedipus, before Greece—that Egyptian archaeology might contain timeless, esoteric truths was crucial to Freud’s understanding of the subject at the dawn of desire. And yet, on the other, the early-twentieth-century investment in the scientificity of the new discipline of Egyptology provided Freud with a support mechanism for his own “scientific,” psychoanalytic investigations into Leonardo’s life-story. Indeed, Leonardo was such a fascinating figure for Freud—a figure for identification—precisely because, as the quintessential Renaissance man, Leonardo was both artist and scientist. Freud’s interest in the classical and sacred art of Leonardo as well as Leonardo’s scientific investigations reflected Freud’s own complex intellectual identity, informed by his classical humanistic education and his medical training. As Richard Armstrong has put it so well, the Leonardo essay can be “read as a key for understanding Freud’s personalized genealogy of empirical science.”4 The complexity of the position of Egyptology at the turn of the century, then, will be crucial to any understanding of Freud’s own precarious epistemological authority as it was explored in relation to Leonardo.5 We will begin by examining the importance of Egyptian archaeology for Freud’s understanding of Leonardo’s early relationship with his mother, which in turn provided Freud with a method for interpreting Leonardo’s paintings. Freud will invoke the heroics of modern Egyptologists, such as Jean-François Champollion, who in the 1820s had successfully deciphered hieroglyphic writing, in order to characterize the psychoanalyst as the decipherer of the hidden meaning of Leonardo’s art. And yet, as we shall see, the overdetermined position of Egypt in the European public imagination Daniel Orrells 107 since the Enlightenment would also encourage Freud to turn back to the Egyptology before Champollion’s decipherment. Freud’s Egyptological excavations would also allow him to intervene in early twentieth-century debates in the “racial” sciences which were developing increasingly hardening views about the “Aryan” and the “Semitic” “races.” If Leonardo’s biography was such an important narrative for the story of the origins of the western self, then it was not only Leonardo ’s mix of artist and scientist which was important for Freud. By linking Leonardo back to Egyptian origins, Freud was able to make a point about the “Aryan” / “Semitic... (shrink)

Through photographs we preserve the past, and looking for the past is the very job of the archaeologist. But what are we looking at in an archaeological photograph? Archaeological photography is often largely deserted, to be scanned with a forensic gaze, towards finding evidence of what once took place. At the same time, photographs of excavated sites and artefacts have revealed stunning ancient works, shot as works of art. In Photography and Archaeology, Frederick Bohrer examines some of history’s (...) most famous archaeological excavations, as well as lesser-known and previously unpublished finds, from the Mediterranean, Middle East, Asia, Europe and the Americas, and the ways these sites have been represented in photographs. Bohrer shows how the development of photography in the nineteenth century made archaeology available to a much wider audience, and he discusses how these images revealed the material traces of the past, as well as their meaning and use today. Spanning the dual histories of both photography and archaeology, the book makes evident how what we know of the archaeological past has always been related to how it has been photographically represented and circulated: in scholarly papers, popular accounts, scientific archives, museum catalogues and numerous other formats. Bohrer concludes that such images possess contending, if not mutually exclusive, properties. While photography seems to guarantee documentary objectivity, at the same time it also fundamentally alters the archaeological object, transforming it into a work of art. Along the way, he discusses archaeological examples and images by photographers including Maxime du Camp, Francis Frith, John Beazley Greene, Ernst Herzfeld and others, to more contemporary photographers such as Aaron Levin, Roger Wood and Marilyn Bridges. Beautifully illustrated with fine archaeological images, many published here for the first time, Photography and Archaeologywill be of interest to archaeologists, art historians and photographers, as well as anyone concerned with, or captivated by, archaeology’s ongoing engagement with the past. (shrink)

• Examines the Oldawan, the Ancient Soul of Africa, and its correlation with what modern psychologists have defined as the collective unconscious • Draws on archaeology, DNA research, history, and depth psychology to reveal how the biological and spiritual roots of religion and science came out of Africa • Explores the reflections of our African unconscious in the present confrontation in the Americas, in the work of the Founding Fathers, and in modern psychospirituality The fossil record confirms that (...) humanity originated in Africa. Yet somehow we have overlooked that Africa is also at the root of all that makes us human--our spirituality, civilization, arts, sciences, philosophy, and our conscious and unconscious minds. In this African-revisioned look at the unfolding of human history and culture, Edward Bruce Bynum reveals how our collective unconscious is African. Drawing on archaeology, DNA research, history, depth psychology, and the biological and spiritual roots of religion and science, he demonstrates how all modern human beings, regardless of ethnic or racial categorizations, share a common deeper identity, both psychically and genetically, connected with a primordial African unconscious. Exploring the beginning of early religions, spirituality, and mysticism in Africa, along with philosophy, art, and science, the author looks at the Egyptian Nubian role in the rise of civilization and the emergence of Kemetic Egypt, revealing how and why ancient Egypt was separated from the rest of Africa in the Western mind--despite it being the most sophisticated expression of the Mother Continent. He examines the Oldawan, the Ancient Soul, and its correlation with what modern psychologists have defined as the collective unconscious. Revealing the spiritual and psychological ramifications of our shared African ancestry, the author examines its reflections in the present confrontation in the Americas, in the work of the Founding Fathers, and in modern Black spirituality, which arose from African diaspora religion and philosophy. By recognizing our shared African unconscious, the matrix that forms the deepest luminous core of human identity, we can learn to see and feel that the differences between one person and another are merely superficial and ultimately there is no real separation between the material and the spiritual. (shrink)

In recent years, the research field of the evolution of art has witnessed contributions from a wide range of disciplines across the "three cultures". In this thesis, I make both a critical review of existing explanations, and try to do elucidate the evolution of art by employing insights, methods and concepts from different disciplines. First, I critically evaluate the evidentiary criteria from standard evolutionary psychology some accounts employ to demonstrate that art qualifies as a human biological adaptation. I argue that (...) these criteria do not suffice to make that claim. Furthermore, I make the case for a cultural evolutionary approach to the arts. One commonly used evidentiary criterion for art as adaptation is the “tight fit” between artnbsp;human cognition, which is interpreted as suggesting that cognition has undergone selection to produce and appreciate art. However, disentangling cultural and genetic evolution allows formulating thenbsp;hypothesis that art has evolved culturally to match human cognition. Second, I observe that in ancient and modern hunter gatherer societies, artistic activities are virtually alwaysnbsp;with ritual. I discuss what this implies for the adaptive significance of art. Specifically, if the arts have culturally evolved in function of ritualistic purposes, their adaptive value has depended on the adaptiveness of ritual. Third, because architecture is characterized by the combination of utilitarian and aesthetic aspects, it is particularly interesting from an evolutionary perspective and therefore I devote special attention to it. Employing the cross-species comparative approach, I investigate two main purposes human architecture has in common with nonhuman animal constructions: protection andnbsp;Based on the phylogenetic approach I establish that protection may have been the primary function of building aptitudes in humannbsp;and that building was later co-opted for signaling purposes. Subsequently, I comparatively evaluate thenbsp;of signaling models in the cultural evolution of architectural aesthetics. Furthermore I combine insights from environmental psychology, niche construction and cultural evolution theory to develop the hypothesis that a function of religious monumental architecture may have been to support nbsp;or even to galvanize nbsp;social learning. Finally, I connect the account I developed to the cognitive science of religion. I complement the frequently held view that religious monumental architecture is a costly signal with the mechanism of sensory exploitation. I attempt to demonstrate that by exploiting thenbsp;response of awe in religious followers, religious monumental architecture promotes and regulates prosocial behavior and creates in them an openness to adopt supernatural beliefs. Fourth, I dealnbsp;the evolution of visual art, paying again special attention to cultural evolution andnbsp;explanatory value of sensory exploitation. I assert that the relatively late appearance of figurative art in the course of human evolution may be attributed to an increase in the number of social learning opportunities within and between human populations at that time. I support this assertion with archaeological data that indicate overall population growth and increased population densities at that time. These demographic changes, I argue, have allowed the retention and accumulation of innovations required for figurative art making. Contrary to previous accounts, I furthermore aim to show that this process doesnbsp;require figurative art to have served adaptive purposes. Employing sensory exploitation, I establish that figurative art could have evolved by exploiting pre-existing biases of evolved psychology. The dominant themes of upper Paleolithic and late stone age figurative art, animals and humans, seem to support this contention. Fifth, I present a number of experimental studies I conducted to verify whether contemporary art experts would have socially learned to resist exploitation of evolved psychology. One aspect ofrsquo;s exploitative power may be that it elicits aesthetic pleasure by pushing “pleasure buttons” that evolved for other purposes. Consequently, spectators may trade-off rewards from indulging in art and biological activities, resulting in less effort being allocated to reproduction. I contend that, while the generalnbsp; may indeed be exploited, experts, who are typically being exposed to high doses of art, may have socially learned to resist exploitation by selectively preferring art from prestigious art contexts. The latter would be in line with the claim that prestige bias may trump content biases of evolved psychology. The results of three experimental studies supportnbsp;contention. I find that laypeople's art appreciation is positively affected by a content bias for attractive faces, mediated by aesthetic pleasure, whereas experts' appreciation is positively affected by prestige and mediated by admiration for the artist. Moreover, experts confer lower appreciation to attractive compared to moderately attractive content, which is consistentnbsp;the contention that expertise and the use of prestige are associatednbsp;resistance against beautiful content that exploits evolved preferences. This research thus suggests that expertise moderates content and context biases, which may be of relevance to an ongoing debate about their relative importance as drivers of cultural evolution. In addition, this study provides a tentative but novel explanation for the fact, famously established by philosopher Arthur Danto, that beauty lost its central position in Western art during the 20th century. However my findings cannot exclude alternative explanations for the fact that art expert appreciation deviates from evolved aesthetic preferences. Further research may experimentally assess the role of prestige bias and resistance as drivers of this deviation versus other, previously suggested, potential processes. For example, preferences of experts may deviate on account of the fact that art serves as a badge of elite group membership and thus expert art appreciation as a means to distinguish oneself from the masses. Alternatively, art experts may seek intellectual challenges instead of pushing pleasure buttons. Future research may experimentally verify the respective roles of these different hypothesized mechanisms. In addition, it may be investigated how insights from sexual selection research may help elucidating the different processes at play in cultural evolution and particularly in the cultural evolution of art appreciation, given the commonalities between sexual selection and cultural selection models. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Attic Document Reliefs: Art and Politics in Ancient AthensWilliam C. WestCarol L. Lawton. Attic Document Reliefs: Art and Politics in Ancient Athens. Oxford: Clarendon Press, 1995. xxii 1 167 pp. 96 pls. Cloth, $100. (Oxford Monographs on Classical Archaeology)Although long recognized as a distinct genre, the reliefs on documents have not been collected comprehensively and studied for their own sake. They are set above the (...) texts of honorary decrees, alliances and documents concerning [End Page 465] foreign affairs, decrees concerning cults, accounts and inventories, public dedications, and other inscriptions. Previous work on the subject (Binnebössel 1932; Meyer 1989) sought to relate the reliefs to other genres of art. Lawton notes that the document relief is “the only genre of Greek art that explicitly and consistently refers to contemporary events in the political sphere” (4). The style of the sculpture of the reliefs is shown to be conservative, “following rather than setting the sculptural trends of their own day” (73).The aim of illustrating documents with reliefs seems to be the desire to highlight certain relations to the text (deities as representative of cities; heroes, personifications of Demos, Boule, and Demokratia; individuals honored set amid the appropriate divinities, etc.). Expenses for inscribing were sometimes shared, as by cities of the empire or by individuals who received honorary decrees, but the cost of inscribing probably also included the reliefs (23–24). They would have been commissioned by authority of the secretaries of the assembly (or other political group such as deme or tribe) in consultation with sculptors and masons. Thus the relief contributes to the artistic display, just as certain features of the layout of the text on the stone (stoichedon style, intentional use of vacat, chequer pattern) serve to articulate the elements of the text and create an attractive monument. Lawton asserts that most of the document reliefs had a votive function, as they were set up in sanctuaries (29).Lawton presents a catalogue of 187 reliefs, arranged in two parts (dated and undated) and listed in chronological order within each part. Each item is accompanied by a lemma giving its most accessible publication, location, measurements, iconographical description, and bibliography. Thus 62 are classified as dated and 125 as undated. Although they range from the middle of the fifth to the second half of the second century B.C., the overwhelming preponderance fall in the fifth and fourth centuries. Statistics make the point effectively: fifth century, 28 total (12 dated, 16 undated); fourth century, 148 total (46 dated, 102 undated). Five are classified “late 5th-early 4th century,” bringing the grand total to 181. Of the dated group in the fourth century, only 9 can be put after 323 and only 4 after 318/17. One might justifiably conclude that the document relief is a phenomenon of the classical period, continued occasionally after it.Lawton offers excellent analyses, with concise discussion of relevant interpretations, in terms of type of inscription, iconography, style, and chronology. Where problems in interpretation still persist, she is careful to note the probabilities.Possibly the earliest surviving document with a relief is the Miletos decree (no. 63 = IG I3 21), which is put by Meritt and others about 450 because it uses the three-bar sigma, but in the 420s by H.B. Mattingly. Lawton summarizes fairly the arguments for both datings but does not insist on either. Rather, she notes the frequency of document reliefs from the 420s onward.IG I3 68 (no. 1), on the collection of tribute, is presented as the earliest securely dated inscription. Perhaps here the case is stated too positively, as the date 426/25 depends on the identification of the proposer Kleonymos with the man [End Page 466] who proposed a decree favoring Methone in the first prytany of that year (Meiggs and Lewis, no. 68, p. 188). Hence the date is probable, rather than certain. Secure dates for several decrees of the fourth century come from the name of the archon in the heading, but in cases where insufficient text is preserved for certainty (as in IG II2 133, no. 30) it should be noted that the stoichedon pattern provides... (shrink)

The conventional history of the ancient Near East at large, including Egypt and the eastern Mediterranean basin, contains several “Dark Ages,” poorly documented transitional periods of uncertain length. James et al. 1991 have argued that the most significant of these Dark Ages—the transition from the Late Bronze to the Iron Age during the last two centuries of the second millennium BCE—is largely an artifact of an overly long reconstruction of the Egyptian Third Intermediate Period, and that this Dark (...) Age presents itself in every chronology linked to the Egyptian. A wide variety of often seemingly contradictory scientific, archaeological, art-historical, and philological evidence has been adduced to argue for the status quo, or to lengthen or to shorten by up to several centuries the relative chronology for this period. This review article comments on the papers presented at the Third BICANE Colloquium held at Sidney Sussex College, Cambridge, summarizing a variety of recent positions taken in the ongoing evaluation of James et al. 1991, testing the specific proposition that the tenth century BCE biblical Egyptian King Shishak is to be distinguished from the historical Egyptian King Shoshenq I, who is now to be situated about a century later in the latter half of the ninth century BCE. the wider historical implications of this proposed distinction are examined in new detail. (shrink)

There are strong indications that ancient Egyptian mythology contains knowledge of the nature of space up to higher dimensions and provides ontologic answers to the question about the creation of matter. This article examines the pentagonal interpretation of the myth of Isis and Osiris by comparing the iconographic details with recent findings from the art research project Quantum Cinema, where an interdisciplinary group of digital artists and scientists established a virtual space model for visualizing the usually non-perceivable processes (...) in the microcosm on a Planck scale. At this scale, quantum mechanics applied to space itself leads to a discrete amount of quantum states. For this research, a new geometrical tool proved invaluable: the epitahedron. The double heptahedron named epitahedron (E±), a 3D Penrose kites and darts representation, confines the dodecahedron in many ways and seems to be Plato’s fifth element. It is a 5D space cell, decorated with fragments of circles, which allows to visualize the permutations of symmetry elements within a discrete lattice (Z5). This higher-dimensional configuration is also the appropriate space to create a quantum-mechanical depiction of particles with inherent wave-like character by means of 3D animated geometry. Disguised in a mythological language the same subscendent space structure with the same golden polytope (E±) can be revealed: is this the origin of the concept of aether, the quintessence model which was a basic scientific task for the last 2500 years? (shrink)

ARCHAEOLOGYTHE Classical Spartans were noted for their austerity, which seemed already ancient to writers of the fifth century B.C. The early poetry and art of their country show a considerable aesthetic sense. This apparent contradiction has caused some students to conclude that the strict Lycurgan regimen was not introduced till the middle or even the end of the sixth century and that before that date Sparta had culturally been developing in much the same way as other important Greek states. (...) The argument is unsound. (shrink)

This book, a companion volume to Professor Pollitt's The Art of Rome: Sources and Documents, presents a comprehensive collection in translation of ancient literary evidence relating to Greek sculpture, painting, architecture, and the decorative arts. Its purpose is to make this important evidence available to students who are not specialists in the Classical languages or Classical archaeology. The author's translations of a wide selection of Greek and Latin texts are accompanied by an introduction, explanatory commentary, and a full (...) bibliography. An earlier version of this book was published twenty-five years ago by Prentice-Hall. In this new publication Professor Pollitt has added a considerable number of new passages, revised some of his earlier translations and presented the texts in a different order which allows the reader to follow more easily the development of sculpture and painting as perceived by the ancient writers. The new and substantial bibliography, organised by topics as they appear in the book, emphasises works that deal directly with the literary sources or that supplement our knowledge of the personalities and monuments described in the sources. This collection will be welcomed by students and teachers of Greek art who have long been in need of an authoritative and reliable sourcebook for their subject. (shrink)

How important is the influence of spatial acoustics on our mental processes related to sound perception and cognition? There is a large body of research in fields encompassing architecture, musicology, and psychology that analyzes human response, both subjective and objective, to different soundscapes. But what if we want to understand how acoustic environments influenced the human experience of sound in sacred ritual practices in premodern societies? Archaeoacoustics is the research field that investigates sound in the past. One of its branches (...) delves into how sound was used in specific landscapes and at sites with rock art, and why past societies endowed a special significance to places with specific acoustical properties. Taking advantage of the advances made in sound recording and reproduction technologies, researchers are now exploring how ancient social and sacred ceremonies and practices related to the acoustic properties of their sound environment. Here, we advocate for the emergence of a new and innovative discipline, experimental psychoarchaeoacoustics. We also review underlying methodological approaches and discuss the limitations, challenges, and future directions for this new field. (shrink)

While visiting original sites provides a clear benefit to study in ancient history, art, and archaeology, this benefit of such an activity for philosophy is less conclusive. In addition to describing a series of classes on Socrates, Plato, and Aristotle that used seven sites in Greece in a study abroad program, this paper draws on student surveys to argue that on-site sessions have two kinds of benefits. First, visiting sites can enhance understanding by providing important contextual information that (...) greater illustrates certain philosophical points. Second, visual aids available at on-site sessions also bring the reading of texts to life and increase a student's motivation to understand the material. (shrink)

Many areas of contemporary art and culture in the United States and Europe can be shown to have a direct lineage to the rich history of the Western Mystery Traditions, rooted in ancient esoteric and magical philosophies of Greece and Egypt. Video mash-ups and audio sampling have inherited the cut-up methods of Beat poets and artists, who in turn were influenced by the Surrealists and their contemporaries. Early twentieth-century artists such as Austin O. Spare drew upon magickal practices derived (...) directly from renaissance practitioners such as John Dee’s use of The Key of Solomon and Giordano Bruno’s Art of Memory. Methods of employing graphical imagery for the purpose of accessing insight or influence from alternate realms continue to draw upon Gnostic and Hermetic philosophies of ancient Greece and Egyptian antiquity. We can easily see the persistent influence of these ancient beliefs and practices in the contemporary use of logos and symbols of popular culture as well as in contemporary art and music. (shrink)

The reception of Martin Bernal’s Black Athena in 1987 by classicists focused on Bernal’s errors of fact rather than on the content of his message. The thrust of this message was that Classics is a Eurocentric project that systematically excluded the Levantine and Egyptian contribution to European civilization. In 1996, I was hired to develop a Black Athena course to counter the Afrocentric view that black people were systematically excluded from their contribution to the fetishization of “Western Civilization” in (...) Classics, Near Eastern Studies, Art History, and History, among other fields of study. I chose to avoid devaluating Afrocentric views or valorizing traditional views of Greece as the ethnically pure fount of European civilization. Instead, the course structure underscored that a thorough interrogation of the evidence could promote inclusive and multicultural histories by focusing on how civilization began in the east. Fast forward to the present: classicists have embarked on numerous projects to decolonize the fields of ancient studies through outreach, “colorizing” the Classics, and by recruiting people of color to reshape these fields. In considering the ethical issues involved in this project to decolonize Classics and related areas of research, I argue that the institutional positionality of a discipline that inscribes itself as central can never de-colonize itself but should de-center its privileged position in favor of a broader approach including neighboring regions. (shrink)

Spanning the course of three millennia, the art of ancient Egypt stands out for its unique continuity. The fundamental rules of Pharaonic art were established around 3000 bc. The proportions of the human body, the style of cubist representation in relief and painting, the division of a tomb or temple wall into strips, and the adaptation of diverse forms into simple hieroglyphic images remained the principle elements of Egyptian art until the Imperial Roman era.

Broken bodies, places and objects demonstrates the breadth of fragmentation and fragment use in prehistory and history, and provides an up-to-date insight into the current archaeological thinking around the topic. A seal broken and shared by two trade parties, dog jaws accompanying the dead in Mesolithic burials, fragments of ancient warships commodified as souvenirs, parts of an ancient dynastic throne split up between different colonial collections... Pieces of the past are everywhere around us. Fragments have a special potential (...) precisely because of their incomplete format - as a new matter that can reference its original whole but can also live on with new, unrelated meanings. Deliberate breakage of bodies, places and objects for the use of fragments has been attested from all time periods of the past. It has now been over 20 years since John Chapman's major publication introducing fragmentation studies, and the topic is more present than ever in archaeology. This volume offers the first European-wide review of the concept of fragmentation, collecting case studies from the Neolithic to the Modern, and extending the ideas of fragmentation theory into new directions. The book is written for scholars and students in archaeology but it is also relevant for neighbouring fields taking an interest in material culture, such as anthropology, history, cultural heritage studies, museology, art and architecture. (shrink)

The analysis concerns the interpretation of the story about Helen of Troy in the Goethe tragedy “Faust” and in the Hofmannsthal mythological opera “The Egyptian Helen” in terms of succession and development of philosophical and aesthetic conception of image. For the first time the work on the opera “The Egyptian Helen” is considered as a fruitful period of the combined creation of Hugo von Hofmannsthal and Richard Strauss on the basis of Nietzsche’s antiquity reception. It is proved, that (...) in the Hofmannsthal’s philosophical and aesthetic views the conception of the opera “Helen” is the symbol of synthesis of opposite view points on antique perception of the world and the basic sources of the ancient Greek art. The light Olympic Greece of Winckelmann and Goethe and the spontaneous titanism, Dionysus’s ecstasy and Nietzsche’s, Burckhardt’s, Bachofen’s archaic mysticism merged in Helen’s “Mystic wedding”. The basis for such unification serves an invincible life instinct of an ancient Greek, who becomes apparent in ability to moral transformation and revival by force of overcoming inevitable things in human existence of suffering. (shrink)

The 1850s through early 60s was a transformative period for nascent studies of the remote human past in Britain, across many disciplines. Naturalists and scholars with Egyptological knowledge fashioned themselves as authorities to contend with this divisive topic. In a characteristic case of long-distance fieldwork, British geologist Leonard Horner employed Turkish-born, English-educated, Cairo-based engineer Joseph Hekekyan to measure Nile silt deposits around pharaonic monuments in Egypt to address the chronological gap between the earliest historical and latest geological time. Their conclusion (...) in 1858 that humans had existed in Egypt for exactly 13,371 years was the earliest attempt to apply geological stratigraphy to absolute human dates. The geochronology was particularly threatening to biblical orthodoxy, and the work raised private and public concerns about chronological expertise and methodology, scriptural and scientific authority, and the credibility of Egyptian informants. This essay traces these geo-archaeological investigations; including the movement of paper records, Hekekyan’s role as a go-between, and the publication’s reception in Britain. The diverse reactions to the Egyptian research reveal competing ways of knowing the prehistoric past and highlights mid-Victorian attempts to reshape the porous boundaries between scholarly studies of human antiquity. (shrink)

The study of colour has become familiar territory in anthropology, linguistics, art history and archaeology. Classicists, however, have traditionally subordinated the study of colour to form. By drawing together evidence from contemporary philosophers, elegists, epic writers, historians and satirists, Mark Bradley reinstates colour as an essential informative unit for the classification and evaluation of the Roman world. He also demonstrates that the questions of what colour was and how it functioned - as well as how it could be misused (...) and misunderstood - were topics of intellectual debate in early imperial Rome. Suggesting strategies for interpreting Roman expressions of colour in Latin texts, Dr Bradley offers alternative approaches to understanding the relationship between perception and knowledge in Roman elite thought. In doing so, he highlights the fundamental role that colour performed in the realms of communication and information, and its intellectual contribution to contemporary discussions of society, politics and morality. (shrink)

Is it not surprising that we look with so much pleasure and emotion at works of art that were made thousands of years ago? Works depicting people we do not know, people whose backgrounds are usually a mystery to us, who lived in a very different society and time and who, moreover, have been ‘frozen’ by the artist in a very deliberate pose. It was the Classical Greek philosopher Aristotle who observed in his Poetics that people could apparently be moved (...) even by the imitation of a person or an act. And although we are usually well aware that it is a simulacrum, not a real situation, it nevertheless sometimes seems as if we ourselves are standing there on the stage or in the painting, so intense and emotional is our response, even though we are just spectators. Aristotle concludes from this that we have intellectual capacities which allow us put ourselves in another’s place and consequently to react to simulated situations as though they are actually happening to us, here and now. In this process, he contends, observation, memory, imagination and emotions are crucial elements. In the past it was not customary to invoke human mental faculties to explain our response to works of art. The Ancient Greeks, after all, knew little about the human body or brain and usually referred to the extended world of the gods in their endeavours to comprehend the ‘inner world’ of human beings. In our time the situation is completely different—such an allusion to the brain no longer surprises us. Whether it is about the mystery of the consciousness, the question of free will or accounts of bizarre psychological aberrations or disorders, we have become accustomed to references to parts of the brain, to images of brain scans, to reports about neural networks and the like. However, because there are so many factors that play a part in our appreciation of works of art we need a complex explanation for it, and it is not enough to look only at certain properties of the brain that are determined by evolution. Those properties are shared by every human being, and so are rather useless in explaining people’s different reactions to the same work of art. Evidently the brains of individuals differ so much that they make it possible for people to respond differently to one and the same artwork. This, of course, raises questions concerning the painted emotions that can be seen in this exhibition. Virtually everyone, after all, is fascinated by such paintings and usually recognizes the emotions they represent. The reactions to these painted emotions are also often similar. This is probably why artworks like this are generally highly valued, then and now, here and elsewhere: from the enigmatically smiling Egyptian Queen Nefertiti and the startled Rembrandt to a seemingly despairing African mask. Aristotle observed that in the theatre players imitate actions that are associated with emotions in a number of ways and that these emotions are shared in a particular fashion by the playwright, the actors and the audience. The audience may even be carried away by these emotions to such an extent that they are in a sense purged of them and can subsequently leave the theatre relieved. Are such emotional reactions perhaps related to the fact that emotions are universal and that brains respond similarly to them? Is this why we can so readily identify painted emotions? May we therefore also assume that the properties of the brain determined by evolution help us to explain these emotions? In answering these questions we shall discuss a number of insights into emotions in psychology and brain science and explore some theories about the possible function of emotions and their expression. (shrink)

An Archaeology of Disability is a research station designed for the Venice Biennale, Architettura 2021 by David Gissen, Jennifer Stager, and Mantha Zarmakoupi and exhibited later at La Gipsoteca di Arte Antica of Pisa in 2022, at the Canellopoulos Museum of Athens in 2023, and at the Archaeological Museum of Thessaloniki in 2024. The research station works with languages and forms used by contemporary disabled people to reproduce elements—a ramp, a seat, an art gallery—from the ancient Acropolis in (...) Athens that vanished long ago and that have little or no extant material forms. Among the many people who contributed to the research station are two performers, Christopher Tester and Pia Hargrove, who performed, respectively, the ekphrastic film and audio description Sēmata (Signs) (2021). The following dialogic essay draws on conversations with the curators and performers led by Brooke Holmes and Pasquale Toscano. This dialogic form surfaces some of the collaborative aspects of the research station to highlight the ways in which such collaboration brings different lenses to antiquity. (shrink)

The Ancient Egyptian Netherworld Books. By John Coleman Darnell and Colleen Manassa Darnell. Writings from the Ancient World, vol. 39. Atlanta: SBL Press, 2018. Pp. xxxvii + 685, illus. $99.95.

In lieu of an abstract, here is a brief excerpt of the content:Freud between Oedipus and the Sphinx MIRIAM LEONARD Areproduction of Jean-Auguste-Dominique Ingres’s neo-classical painting Oedipus and the Sphinx famously hung over Freud’s couch in his consulting room at Berggasse 19 [figure 1]. Nobody doubts the significance of the figure of Oedipus to the development of Freud’s thought, arion 28.3 winter 2021 Jean-Auguste-Dominique Ingres, (1780–1867). Oedipus and the Sphinx, 1808. Oil on canvas. Photo Credit : Scala/ Art Resource, NY. (...) 132 freud between oedipus and the sphinx but the presence of the Sphinx in this picture raises a series of questions about Freud’s interests which have not been as extensively explored. Indeed, this is far from being the only depiction of the Sphinx which graced Freud’s study. A large etching of the Sphinx at Giza was displayed amongst his bookshelves and a terracotta figurine was amongst his most prized objects.1 These representations of the Sphinx testify to Freud’s broader fascination with Egyptian culture—a fascination which, as we have seen, manifests itself both in his writings and his collection of antiquities. Judith Butler and George Steiner have wondered: “what would happen if psychoanalysis were to have taken Antigone rather than Oedipus as its point of departure?”2 I want to reformulate their question to ask, what would happen if Freud had taken the Sphinx rather than Oedipus as his point of departure? With this counterfactual, I hope to deepen the exploration already undertaken in the previous two articles about Egypt as an origin myth for psychoanalysis—an origin both for the development of the self and for the history of humanity. One possibility, suggested by Edward Said in his last work, Freud and the Non European, is that Freud’s turn to Egypt opened psychoanalysis to a less Eurocentric perspective. For Said, Freud’s foregrounding of Egypt and his interest in the crossover of “non-European” and “European ” cultures testified to his openness and his frustration with the nationalist and racist theories which were so prevalent at the end of his life.3 Said’s claims are compelling but as he would have been the first to note, Freud’s Egyptomania could equally be captive to orientalizing fantasies.4 In what follows I trace the evidence for Freud’s fascination with Egypt and, reading it hieroglyphically (as he would invite us to do), I speculate about its possible impacts on psychoanalysis as art and / or science. Ingres’s first version of Oedipus and the Sphinx—the painting whose reproduction Freud displayed—was completed in 1808. Ingres originally painted the picture in Rome where Miriam Leonard 133 he was studying at the French Academy. In common with other students at the academy, Ingres was required to produce figure studies and the original version of this painting was focused on Oedipus and the representation of his bodily form. Ingres had asked his model to use the same pose as the classical statue of Hermes with the Sandal which is displayed in the Louvre. As François de Vergnette writes: “The clarity of the contours, the muted use of chiaroscuro and the slight surface relief given to the figure of Oedipus add an archaic flavor to the picture. This archaism had its roots in Ingres’s taste for Greek vases.”5 But it is the impact of a different Mediterranean culture which can be felt in Ingres’s depiction of Oedipus’ counterpart. While Oedipus embodies the Winckelmannian Hellenic ideal, the Sphinx is represented in all her oriental glory. Ingres painted this image just ten years after Napoleon had lead his troops and “savants” into Egypt. Napoleon’s Egyptian Campaign gave rise to a widespread fascination with ancient Egyptian culture and its impact on the arts was immense. In choosing to represent Oedipus in his encounter with the Sphinx, Ingres was able to draw on this new aesthetic of orientalism.6 Even before Napoleon ’s expedition, the Sphinx had become a potent visual representation of the mystery of ancient Egypt and of ancient Egypt as mystery. Ingres reworked this image during the course of his career and gave the Sphinx an ever greater prominence. In Ingres ’s depiction, the Sphinx’s orientalism... (shrink)

This is the first book to describe and explain all of the ancient world's major mystery cults--one of the most intriguing but least understood aspects of Greek and Roman religion. In the nocturnal Mysteries at Eleusis, participants dramatically re-enacted the story of Demeter's loss and recovery of her daughter Persephone; in the Bacchic cult, bands of women ran wild in the Greek countryside to honor Dionysus; and in the mysteries of Mithras, men came to understand the nature of the (...) universe and their place within it through frightening initiation ceremonies and astrological teachings. These cults were an important part of life in the ancient Mediterranean world, but their actual practices were shrouded in secrecy, and many of their features have remained unclear until now. By richly illustrating the evidence from ancient art and archaeology, and drawing on enlightening new work in the anthropology and cognitive science of religion, Mystery Cults of the Ancient World allows readers to imagine as never before what it was like to take part in these ecstatic and life-changing religious rituals--and what they meant to those who participated in them. Stunning images of Greek painted pottery, Roman frescoes, inscribed gold tablets from Greek and South Italian tombs, and excavated remains of religious sanctuaries help show what participants in these initiatory cults actually did and experienced. A fresh and accessible introduction to a fascinating subject, this is a book that will interest general readers, as well as students and scholars of classics and religion. (shrink)

Ancient Egyptian Wisdom for the Internet demonstrates that the legal philosophy and knowledge of ancient civilizations are of great value in helping us deal with the Internet. Through a challenging exploration of ancient legal knowledge this book offers new perspective on how to deal with, and best profit from the Internet.

This article addresses the debate between Afrocentrists like Martin Bernal and classical scholars such as Mary Lefkowitz and Robert Palter concerning the origins of ancient Greek civilization. Focusing on the first half of Herodotus’ Histories, I argue that, although Greek cultural developments can be attributed to the Greeks themselves, Herodotus indicates that the conditions that made these developments possible were due to the prior Greek absorption of important aspects of Egyptian religion. Herodotus shows that the Greeks learned from (...) the Egyptians to individualize their gods and to appreciate the humanity of women. This Egyptian influence, Herodotus suggests, is what allowed the Greeks, in contrast to the Scythians, to become an object to themselves within the context of stable city life. I conclude that this habit of self-reflection is the source of the uniquely Greek contribution to the art, philosophy, science and politics of the West. (shrink)