Classical Athens

This file contains the first and last paragraphs in a review of Freedom and Power in Classical Athens by N. T. Campa. The complete text can be found at First View articles for Classical Review. This review should be read in conjunction with the review of C. Joyce in Rivista di diritto ellenico 13 (2023) 177-186.

Υπό την επιμέλεια του Giancarlo Germanà και του Alberto Giudice, ο αφιερωμένος στη μελέτη της εικονογραφίας της Αθηνάς από την Αρχαιότητα έως τον 4ο/5ο αιώνα μ.Χ. συλλεκτικός τόμος που συγκεντρώνει επτά άρθρα νέων μελετητών, δημοσιεύεται στη νέα σειρά Studia Iconographica et Archaeologica [Εικονογραφικαί και Αρχαιολογικαί Μελέται] από τον Σικελό εκδότη Giuseppe Bonanno. Μετά την σύντομη εισαγωγή από τους επιμελητές (7-8), η σειρά των επιστημονικών συνεισφορών, που μας επιτρέπουν να αναλύσουμε την εξέλιξη της εικονογραφίας της ελληνικής θεάς, ξεκινά με τον Girolamo Sofia, ο οποίος εστιάζει την προσοχή του στην λατρεία της Αθηνάς ως πολιούχου θεότητας στη Σικελία. Κατά τη διάρκεια των ανασκαφών που διεξήχθησαν υπό την διεύθυνση του τότε Εφόρου Αρχαιοτήτων Giuseppe Voza (Voza 1999), στην λεγόμενη «Αγορά των Θεών» στην Ορτυγία Συρακουσών (Scirpo 2022), ήλθαν στο φως τα ερείπια ενός αρχαϊκού ναΐσκου ακριβώς απέναντι από τον περίπτερο δωρικού ρυθμού ναό που αφιέρωσε ο τύραννος Γέλων στην Αθηνά, μετά τη νίκη επί των Καρχηδονίων στην πεδιάδα της Ιμέρας (480 π.Χ.). Ο συγγραφέας υιοθετεί την ταύτισή του με ένα Αφροδίσιον (όπως πρότεινε ο Torelli 2011), παρά την ευρέως αποδεχόμενη απόδοση του ναΐσκου στην Αρτέμιδα (Voza 2013). Ανάμεσα στις υπο-αποικίες των Συρακουσών, ο Sofia δεν παραλείπει να αναφέρει το ιερό της θεάς στην αγορά της Καμαρίνας. Στην περίπτωση της ακρόπολης της Ιμέρας, ωστόσο, το κύριο ιερό συγκρότημα, που αποτελείται από τους ναούς Α και Β και αποδίδεται γενικά στην Αθηνά, θεωρείται, κατ' αναλογία με το αρχαϊκό ιερό της Νάξου, αφιερωμένο στην ένοπλη Αφροδίτη (Pirenne-Delforge 1994• Rizzo 2012), ενώ παραμένει δεδομένη η απόδοση στη γλαυκώπιδα θεά του δωρικού ρυθμού του λεγομένου «Ναού της Νίκης», που ανεγέρθη από τον Γέλωνα στο πεδίο της μάχης. Πρόσφατα όμως, προτάθηκε η αφιέρωσή του στον Ηρακλή (Consoli 2008). Χάρη στη μαρτυρία μιάς περίφημης επιγραφής που ευρέθη κοντά στο Ναό G (Απολλώνειον ή Ολυμπιείον), και στη σχολαστική περιγραφή της ακρόπολης των Νισαίων Μεγάρων που μας παρέδωσε ο Παυσανίας (Ι, 42, 4-6), είναι εφικτό να αποδοθούν με μεγάλη πιθανότητα οι πολλοί ναοί, που η οικοδομική δραστηριότητα των Σελινουντίων είχε κτίσει με γοργό ρυθμό στην ακρόπολη και στους γύρω λόφους της Μεγαρικής υποαποικίας. Στο βόρειο τέμενος λοιπόν, οι περίπτεροι δωρικού ρυθμού ναοί C και D θα ήταν αφιερωμένοι στον Απόλλωνα και την Αθηνά αντίστοιχα, ενώ ο Ναός R, ο λεγόμενος Μέγαρων, στη Θεσμοφόρο Δήμητρα (Marconi 2020). Στο νότιο τέμενος, οι εξίσου περίπτεροι δωρικού ρυθμού ναοί Α και D φιλοξενούσαν τη λατρεία του Ποσειδώνος και των Διοσκούρων. Προχωρώντας εν τέλει, στις Ρόδιο-Κρητικές αποικίες (Scirpo 2024), ο συγγραφέας αποδέχεται την κοινή απόδοση στη λατρεία της «Λινδίας» Αθηνάς των τριών δωρικού ρυθμού περίπτερων ναών (A-C) που εκτίσθησαν πάνω από την ακρόπολη της Γέλας, ενώ στην υπο-αποικία της, στον Ακράγαντα, ο νυν ενσωματωμένος στην εκκλησία της «Παναγίας των Ελλήνων» [Santa Maria dei Greci] Ναός Ε, που σώζεται πάνω στο λόφο του Girgenti, ταυτίζεται με το Αθήναιον που ανέγειρε ο Θήρων,

Resumen: Este artículo analiza el uso de los conceptos "imperio" e "imperialismo" para describir la dominación ateniense en el siglo V a.C., abordando los debates sobre su anacronismo y las limitaciones de términos griegos como arché o hegemonía. A través de una revisión histórica y conceptual, se argumenta que, pese a sus críticas, estas categorías son útiles a partir de un criterio operativo y por su aceptación en la historiografía. Además, se examina cómo el fenómeno ateniense, desde el criterio de Moses Finley, puede ser comprendido desde patrones de subyugación comunes a otros imperios, lo que permite, con los resguardos que ofrece la historia comparada, utilizar la categoría "imperio" e "imperialismo" con el fin de expresar la dominación ateniense con un lenguaje universalmente comprensible. De esta manera, se ofrece una síntesis de los principales debates sobre el uso de estos conceptos, además de una postura que rechaza, por su especificidad contextual y semántica, la utilización de los conceptos griegos y otras denominaciones modernas.

https://www.youtube.com/watch?v=-Wj17HiUR4A

W naszych niespokojnych czasach coraz częściej próbuje się nam wmówić, że rozproszone podejmowanie decyzji politycznych przez jak największą liczbę członków wspólnoty jest skazane na porażkę. Odwołując się do pasjonującej dyskusji w Protagorasie Platona oraz mowy Kleona u Tukidydesa w sprawie ukarania zbuntowanej Mityleny na Lesbos, wykaże się, że do porażki doprowadzi nas raczej autorytaryzm i jego odmiana w kiepskim, kiczowatym przebraniu, czyli ponoć oświecona technokracja.

Bekstvo od gospodara je najčešći zabeležen oblik robovskog otpora u staroj Grčkoj. Prilike za takav čin se neizbežno povećavaju u nemirnim vremenima i nestabilnim okolnostima, poput velikih ratova. Otuda ne predstavlja iznenađenje da Tukididovo monumentalno delo, posvećeno najvećem konfliktu u istoriji klasične Grčke, sadrži vredne informacije o ovom fenomenu. On pominje ukupno tri takve epizode: neprestano (i ohrabrivano) bežanje robova s obe strane atičko-beotske i atičko-megarske granice u prvoj deceniji rata; masovno bekstvo atinskih robova u Dekeleju počev od 413. g. p.n.e, te podjednako masovno bežanje hioskih robova Atinjanima, u toku rata na ostrvu 412-411. g. p.n.e. Nije nikako u pitanju iscrpan katalog sličnih događaja, koji mora da su se dešavali širom Grčke u toku rata. I ovo što imamo svodi se na kratke, uzgredne informacije – za Tukidida bekstva robova nisu značajna sama po sebi, već kao apsekt većih događaja i simptom šire krize. Svejedno, ono što atinski pisac odlučuje da nam saopšti je vrlo vredno. Na osnovu njegovih informacija vidimo da su zaraćene strane ovoj pojavi pristupale pragmatično i taktički, podstičući  protivničke robove na odmetanje i, istovremeno, nastojeći da drže vlastite u potčinjenosti.

In 346/5 BC, Aeschines prosecuted Timarchus under a procedure known as dokimasia rhētorōn. Timarchus was accused of illegally addressing the Assembly on account of his actions as a male prostitute and squanderer of his patrimony. However, doubts have been cast on Aeschines’ adherence to the legal issue at hand, and it has even been suggested that he made up the procedure of dokimasia rhētorōn while actually prosecuting Timarchus under a graphē hetairēseōs. This chapter argues that Aeschines’ rhetorical strategy was in fact bound to the nature of the legal procedure. Given the weakness of the legal charges against Timarchus, Aeschines relies on character evidence and pits the defendant against allegedly Solonian moral legislation. Through a comparison with other types of dokimasiai, I show that a focus on character and morality was engrained in the dokimasia rhētorōn and allowed Aeschines to prove that Timarchus was unfit for advising the people. I then investigate Aeschines’ use of character evidence as well as his discussion of Timarchus’ public career and show that it was relevant to the charge of prostitution. Given the paucity of concrete evidence, Aeschines provided a picture of Timarchus that was reminiscent of the stereotypes on hetairai in order to persuade the judges that Timarchus had indeed been a prostitute. Finally, I analyse Aeschines’ poetic quotations within his discussion of rumour and homosexual love. These are legally relevant because they counter the main objection to Aeschines’ legal charges, namely the lack of solid evidence against Timarchus. The orator therefore relies on the authority of Homeric and tragic poetry to deploy poetic quotations in place of witness statements in support of his otherwise weak charges.


Feel free to contact me to request a full draft of this chapter.

Wachsmann, S., 2024. Big and Small: The Construction of the Panathenaic Ship and the Dionysian Ship Cart in Ancient Athens. In Proceedings of the 3rd International Conference Ancient Greek and Byzantine Technology, 19–21 November 2024, Athens, Greece.: 1-39.

A administração das riquezas e bens das comunidades essênias em Flávio Josefo e Fílon de Alexandria, Victor Lisboa da Fonseca Santos A Antiguidade viva na escola: recepção clássica, tecnologias e ensino, Júlia Avellar A arte da impressão: visualidade e construção da identidade na Domus Vettiorum, Janir Rodrigues da Silva A civilização ocidental e o uso do passado na história pública: como descolonizar os estudos clássicos na escola?, Guilherme Moerbeck A Doxa Parmenidiana e sua relação com as notícias falsas na contemporaneidade com base em uma perspectiva psicanalítica, Eveline de Mello Souza Miranda A epigrafia em latim na cidade do Rio de Janeiro: uma aula a céu aberto,

The status of zeugitai as middle-class hoplites has received considerable attention in recent decades regarding property requirements for inclusion into the hoplite rank and their expected role in the Athenian army. Accordingly, this paper re-examines the idea that since the time of Cleisthenes and throughout the fifth century, the ​​zeugitai formed a census class of middling owners with an estate equivalent to at least 3.6 hectares. It argues that late-sixth century reforms converted the property holdings of zeugitai into a monetary equivalent (in drachmas) and used the census classes as an economic criterion for recruitment from the hoplite catalogue. Already in the sixth century but especially during the Pentecontaetia, the number of hoplites/zeugitai grew substantially due to economic prosperity and the foundation of colonies and cleruchies. Many citizens without landholdings but in possession of sufficient wealth were included in the zeugitai census class and, like the famous A...

El culto de Afrodita en Atenas arcaica incorpora aspectos vinculados a la guerra (y a la política), además del matrimonio, la fertilidad y la fecundidad, como divinidad venerada posiblemente en la Acrópolis donde desempeñaría un papel complementario y similar, aunque de menor envergadura, que Atenea. En este artículo desarrollamos la hipótesis de su culto en el bastión de Nike con anterioridad a la reestructuración de las Panateneas del 566, momento en el que se enfatiza de modo especial el protagonismo, ya destacado desde antes, de la diosa poliada, Atenea como diosa de victoria.

The most prevalent criticism of AYP (Vol.1) has become that the monograph ultimately proves thick on theory but thin on actual evidence. This Chapter therefore represents the first of several, which works through the surviving inscription evidence beginning Archonship Theellos and running through Archonship Aristophon.

Two primary goals here: 1) Knowing what Calendar Equations ought have occurred aids greatly when working with recovered epigraphical evidence that display such equations. When any deviations surface, we can develop a thorough understanding of why they took place.

2) Show the ancient Athenian Calendar proves nowhere near as “chaotic” as assumed. Classicists can instead attribute most deviations to (simple) observational difficulties.

Powszechnie przyjmuje się, że zainteresowanie słowem jako instrumentem perswazji było przyczyną rozwoju trzech podstawowych dla sofi styki metod, jakimi są: erystyka (e) ristikh/), dialektyka (dialektikh/) oraz metoda "dwu mów", ironicznie określana przez Platona mianem "antylogiki" (h(a) ntilogikh\ te/ xnh) 1. Najbardziej tajemniczą, ale, jak twierdzi Platon w Sofi ście 2 , wyrażającą istotę sofi styki, jest sztuka antylogiki, czyli metoda przeciwstawiania logosów, zwana również w literaturze tego okresu metodą "mów przeciwstawnych" (lo/ goi a) ntikei/ menoi, lo/ goi e) nanti/ oi), "mów podwójnych" (du/ o lo/ goi, a] mfw tw\ lo/ gw, dissoi\ lo/ goi) czy "enantiologią" (e) nantiologi/ a). Na fali coraz większego zainteresowania sofi styką oraz dążenia do odczytania źródłowego znaczenia takich uznanych i od wieków przyjętych terminów jak dialektyka, erystyka czy retoryka badacze dużo uwagi w ciągu ostatnich dekad poświęcili analizie sensu i kontekstu fi lozofi cznego metody "dwu mów" 3. Ze zrozumiałych względów przedmiotem tych analiz stał się przede wszystkim materiał zawarty w dialogach platońskich. Warto jednak podkreślić, że nawiązania do metody "dwu mów" znajdujemy również w świadectwach przedplatońskich. Biorąc pod uwagę ubóstwo źródeł odnoszących się do tego zagadnienia, warto poddać je bliższej analizie. O zaistnieniu fenomenu "mów przeciwstawnych" w V wieku p.n.e. informuje nas kilka pochodzących z tego okresu przekazów. O dużym znaczeniu i popularności tej metody świadczą aluzje zawarte w Chmurach i Żabach Arystofanesa czy w tragediach Eurypidesa Antiope i Fenicjanki. Głównym świadectwem jest jednak fragmentarycznie zachowany, wywodzący się z kręgu sofi stycznego, anonimowy traktat powstały najpewniej na początku IV wieku p.n.e. określany jako Mowy przeciwstawne (Dissoi\ lo/ goi, Dialexeis).

RESUMEN: En Memorables de Jenofonte, Sócrates expone a sus amigos atenienses que se han arruinado un modo de ganarse la vida a través del trabajo sin caer en la esclavitud, a través de una determinada forma de clientela, bajo la protección de los poderosos.

Este artículo aborda el tema de la conmemoración de la guerra y de los caídos en la guerra en el mundo griego antiguo, en el marco de un enriquecimiento mutuo entre los estudios sobre la guerra y los estudios sobre la memoria, que se han desarrollado cada vez más en la investigación histórica y en las humanidades en general, a partir de los años setenta del siglo pasado. Tras una visión general del panorama académico relevante sobre el binomio guerra y memoria, y una atención especial al desarrollo de los estudios sobre la memoria como disciplina académica, se aborda la conmemoración de la guerra y de los caídos en la guerra desde una perspectiva comparativa entre la Antigüedad y la Edad Moderna, con especial atención a la cuestión del trauma. Finalmente, se analizan detenidamente los modos, formas y significados de la conmemoración de los caídos en la guerra en la Atenas clásica y en otros lugares de la Grecia antigua.

The Themistocleian Wall of Athens was the first prerequisite for the creation of Athenian power in the 5th century BC. Cimon and Pericles completed the building program, connecting fortified Athens with Piraeus with the Long Walls and transforming the city into a fortress. Thanks to these walls and the possibility of sea supply, Athens was able to withstand until the end of the Peloponnesian War in 404 BC, when, based on the treaty of surrender, the Athenians agreed to demolish them. The Long Walls and the wall of Piraeus were rebuilt by the general Conon, arriving with the Cypriot fleet in 394 BC. The walls of Athens protected the city of Pallas until its fall by the troops of Cornelius Sulla in 86 BC.
By teaching ancient Greek rhetoric and historical geography, the philologist can stand and comment on major issues of topography and material culture of Greek antiquity. One of these is the wall of ancient Athens, which contributed so much to the rise of Athens in the 5th BC century, using topographical and archaeological evidence, presentations and selected activities in the amphitheater and archaeological sites. Βασιλείου-Δαμβέργης, Αλέξανδρος-Νεκτάριος, Ιω., «Διδάσκοντας Αρχαία Ελληνική Πεζογραφία στο πανεπιστήμιο με στοιχεία κλασικής αρχαιολογίας στο πλαίσιο της διαθεματικότητας», Πρακτικά για το 2ο Πανελλήνιο Συνέδριο - ΠΔΕ Κρήτης Εκπαίδευση & Πολιτισμός: Σχέσεις και Προοπτικές, 20-22 Απριλίου 2018, σ. 97-106. Αναφέρεται στο τείχος της αρχαίας Αθήνας λαμβάνοντας υπ’ όψιν αρχαίες πηγές (Στράβωνα, Παυσανία) και υλικά κατάλοιπα.

Апстракт: Испуњавање финансијских обавеза према полису је поред порекла, узраста, одржавања култа предака и вршења војне службе представљало нужан услов за обављање функције државних службеника у класичној Атини. Појам државног дужника је услед недостатка извора недоречен и нејасан, те је  циљ рада  ближе дефинисање обима овог појма, правне последице које проистичу из тог статуса и утврђивање степена изолованости државних дужника у атинском полису. Та изолација је имала двоструку природу, законску и моралну. Кажњавање државних дужника је било изузетно строго, јер је неиспуњавање финансијских обавеза према полису могло довести до проблема у функционисању самог полиса. Државни дужници су били кажњавани ускраћивањем грађанских права (атимија),  конфискацијом имовине и уклесивањем њихових имена на стели како би заједница била упозната са њиховним идентитетом, што је сигурно доводило и до моралне и друштвене осуде од стране атинских грађана. У истраживању ће се користити историјска, социолошка, догматска, нормативна и компаративна метода, а само истраживање ће се базирати на проучавању и тумачењу пре свега форензичких говора атинских оратора, писаних историјских извора, као и правноисторијске литературе која се бави атичким правом.
Очекује се да ће истраживање показати да је правни положај државних дужника доводио и до ванправних последица, односно до њихове изолације унутар самог полиса.
Кључне речи: изолација, класична Атина, државни дужници, губитак грађанских права (атимија), конфискација имовине

ISOLATION OF STATE DEBTORS IN CLASSICAL ATHENS
                                                Summary
        Debtors to the state in classical Athens were persons who were not able to settle their financial obligations to the state within set time limits. This group included those who rented state owned land or mines, those who did not pay the fines imposed by court of law or magistrate, moreover, tax collectors failing to fulfill their duty (tax farming), warrantors to debtors and former magistrates accused for embezzling public money. The debtors were punished by confiscating property, losing civil rights (atimia), and some even by incarceration. The atimia in case of debtors was taken for granted, so to speak, since no court decision was necessary for it to be made effective; it was temporary, for being annulled immediately after the debt had been settled; it was hereditary, since in case of the debtor’s death, the debt as well as the atimia was passed on to his (legal) heirs. The main difference between state debtors and persons who lost their civil rights for other reasons was that their names were written onto a pillar situated in the very center of the city in order to make their names public, known to the whole community. All these measures against the debtors to the state were preventive, their purpose being, above all, to exercise pressure on individuals to settle financial obligations in order to make possible for the state and its institutions to function properly. Also the penalties imposed on state debtors led to their isolation within the polis itself, because they led to public condemnation not only of state debtors but also of their heirs.
Key words: isolation, classical Athens, state debtors, disfranchisement (atimia), confiscation of property

Praca poświęcona temu, jak Arystofanes przedstawia i wykorzystuje w swoich komediach postacie polityków ateńskich. Podejmuje ona analizę zarówno polityków historycznych (czasów wojen grecko-perskich), jak i tych współczesnych komediopisarzowi (czasów Wojny Peloponeskiej).

In classical Athens, the representation of grandparents and their interaction with grandchildren is documented in textual and visual sources. In specific contexts, grandparents are presented as most fortunate, while in other contexts they are seen as most wretched. These text and pictures are not an altogether true image of everyday life, but the representation of values and social concepts shared by Athenian society. This paper explores the questions about diverse representations of grandparenthood.
Extant family burial precincts, funerary stelai and epitaphs are a public testimony to the careful thoughts given to the representation of dead grandparents by their descendants. Long life and the reference to sons and grandsons were celebrated as a measure of contentment. On the other hand, Greek tragedy and pictures on vases provided valuable representations of distressful situations in which grandparents could find themselves in old age. The death of their male descendants and the collapse of their household meant political, social, and financial hardship.
These public displays of idealized grandparenthood, either desirable or feared, helped generate Athenian civic discourse and legislations for the protection of their vulnerable elders in times of distress.

This paper offers an explanatory approach to the
emergence of medieval nominalism from the perspective
proposed by the Argentine historian José
Luis Romero. Romero suggests that there is a double
source, namely, a historical and a philosophical
one. The first of these would be of an empirical
order and would correspond to the bourgeoisie
and its mentality. The second source, the academic
one, would be the one that arises from the
well-known Quarrel of the universals during the
eleventh and twelfth centuries. These two sources
would have been the condition of possibility for
later theoretical developments of nominalism,
which would suppress the idea of the universal as
something real and maintain that the only real
thing is concrete, sensible things, while concepts
constitute empty words.

In Classical Athens, representations of dangerous female figures are innumerable: warriors, filicides, husband-killers, wicked stepmothers, poisoners, seductresses, sorceresses, maidens who refuse marriage, maenads and monsters with female faces pervade theatre, historiography, orations and images. Many of these figures, whose victims are almost always men, are not attested in the sources of the archaic age, or else they appear but their wickedness worsens in the transition to the classical age:
a trajectory that is not activated for figures of dangerous men. In the same period, which corresponds to the birth and development of democracy in Athens, philosophy, medicine and biology trace the contours of ‘female nature’ and codify its inferiority and dangerousness on a scientific basis. This study, through a vast corpus of literary, iconographic and epigraphic sources, examines the physiognomy and evolution of around sixty figures of dangerous women drawn from myth, history and pseudohistory, in relation to the contemporary political and social context and the changing
forms of marriage, inheritance and dowry. In the face of the tendency in recent studies to obscure the relations of domination between social groups, emphasising the symbolic and identity aspects and culturising the causes, this study aims to focus on the material roots underlying the relations between the sexes and the ideology that sanctions their inequality. The gynophobia aroused by representations of dangerous female figures, who escape their assigned social role, is thus analysed not as an emotion
but in its function as an ideological device and naturalisation of social hierarchies in the context of the democratic polis.

, Kapitel 3. 7 Bei [Aristot.] Ath. pol. 8, 3 ist zwar im Hinblick auf die solonische Zeit von εἰσφοραί die Rede, der Begriff wird aber offenkundig in einem allgemeinen Sinne gebraucht und ist unspezifi sch als "Einnahmen" zu verstehen (vgl. dazu Rhodes 1981, 153).

A new verse translation of three of Aristophanes' greatest plays, featuring notes, general introduction, glossary, and historical appendices by Ian C. Storey, with translators' preface and brief introductions to each play by Diane Arnson Svarlien.

The main concern of this research is the distribution of land carried out by Athens outside Attica during the fifth century BCE, which mostly favoured poor Athenians according to the perspective held in this article. The basic assumption is that most of the colonists and cleruchs came from the Athenian lower classes, which encompassed all the thetes and the bulk of the zeugitai, keeping in mind the Solonian census classes. It is argued that in the colonisation process, a hoplite farm model operated as a reference pattern for the Athenian state to distribute plots and/or collect rents in favour of its citizens. In order to sustain this, it is first defined the situation of the zeugitai and the thetes during the sixth and fifth centuries; secondly, it is presented some rough figures of the total male citizen population and of the number of Athenian hoplites, to imagine the possible number of citizens available to emigrate; thirdly, it is analysed three situations that show, in one way or another, the validity of the hoplite farm model for land allocations in Athenian settlements and the beneficiaries of this founding policy: the colony of Brea, the cleruchy on Lesbos, and the colony of Melos; finally, it is proposed some concluding remarks about the Athenian land distribution policy that favoured the lower classes.

обвинить человека сразу в нескольких преступлениях, как, например, это было с Алкивиадом Младшим и Леократом. А в случае с Демосфеном мы сталкиваемся, по сути, с безосновательным обвинением в дезертирстве со стороны его политического оппонента Эсхина. Однако, как следует из источников, голословное обвинение в бросании оружия могло расцениваться как клевета, за которую было предусмотрено наказание. Случаев, связанных с неучастием в морском сражении, у ораторов не встречается, что может быть обусловлено трудностями, связанными с выявлением этих фактов, и малым числом морских кампаний, по сравнению с сухопутными. Ключевые слова: Афины, ораторы, уклонение от службы, трусость, дезертирство, неучастие в морском сражении, бросание щита, нарушение дисциплины.

Resumo: Tencionamos propor uma reflexão acerca das possíveis formas de participação feminina na festividade cívico religiosa, as Grandes Panantenéias, realizadas em Atenas durante o século V a.C., mediante o arcabouço teórico da História Política e dos pressupostos advindos da perspectiva da cultura política.

The exact dating of the Parthenon's conversion into a mosque remains unclear. However, a closer study of events relating to the conquest of Athens by the Ottomans (dated most probably in 1456) and the years immediately following it reveals that the city enjoyed various privileges, including religious freedom for its inhabitants in their existing churches (one of which was the Parthenon). The Venetian invasion of Athens in the summer of 1466 seems to have triggered a change of Ottoman attitude vis-à-vis native Athenians, resulting in the conversion of the Parthenon to a mosque sometime in the period 1466-70.

In the 150 years since Schöll's seminal work, the Prytaneion Decree has been studied frequently. Of the groups of honourees mentioned in the decree, the agonistic victors have received the least attention. Most scholars have simply attributed them, without further discussion, to the sphere of war or to the sphere of religion. In this article, athletics is understood as a sphere of action with its own logic: the passages on athletes in the decree are examined in detail and situated within the debate in classical Athens about whether victors of the Panhellenic Games should be honoured by the polis and to what extent. The strange duplication in the decree, which first regulates honours for agonistic victors in general and, in a second paragraph, honours for hippic victors, is related to some texts that viewed hippic victories more critically than gymnic ones. A precise dating of the decree is not possible, but there were several events in the fifth century that might have created the desire among Athenians for a general regulation of sitêsis for athletes.

New blog entry at  the website of the Mommsen Society with an outline of my habilitation thesis "Der oligarchische Schatten der Demokratie" (Democracy's Shadow of Oligarchy), University of Goettingen (2023). The thesis will be published as a monograph  in 2025.
https://www.mommsen-gesellschaft.de/content-page/item/2632-14-der-oligarchische-schatten-der-demokratie-zum-spannungsfeld-zwischen-demokratie-und-oligarchie-im-athen-des-5-jh-s-v-chr

This article focuses on an amphora by the Andokides Painter which dates in the late sixth-century BC, representing naked girls who swim in a basin of water with fish in front of a building endowed with a column and an architrave. Several considerations lead to the conclusion that these girls are young Athenian females in the sanctuary of Artemis Brauronia, in front of the temple built by Peisistratos. Thus, we may have the first representation of this sanctuary in our visual evidence.

Athens and Boiotia Were Athenians and Boiotians natural enemies in the Archaic and Classical periods? The scholarly consensus is yes. Roy van Wijk, however, re-evaluates this commonly held assumption and shows that, far from perpetually hostile, their relationship was distinctive and complex. Moving between diplomatic normative behaviour, commemorative practice and the lived experience in the borderlands, he offers a close analysis of literary sources, combined with recent archaeological and epigraphic material, to reveal an aspect to neighbourly relations that has hitherto escaped attention. He argues that case studies such as the Mazi plain and Oropos show that territorial disputes were not a mainstay in diplomatic interactions and that commemorative practices in Panhellenic and local sanctuaries do not reflect an innate desire to castigate the neighbour. The book breaks new ground by reconstructing a more positive and polyvalent appreciation of neighbourly relations based on the local lived experience. This title is available as Open Access on Cambridge Core.    is SNFS Postdoc Mobility Fellow at the University of Münster. He co-edited Empires of the Sea: Maritime Power Networks in World History (2019) and currently works on river valleys across mainland Greece.

Dexiosis is a modern term referring to the handshaking motif appearing in ancient Greek art, which had specific meaning and symbolism. Though it was a characteristic iconographic element of the Classical antiquity, its roots can be traced back to the Archaic period. Dexiosis was not merely a compositional element connecting two people, but carried a deeper meaning. Most often, the motif was associated with funerary art of the Classical Athens. On funerary monuments the deceased were depicted in the circle of their families, which reflected the ideals of contemporary society. Particularly notable is the contrast between the public character of the funerary monument and the private nature of the depiction. Its meaning should be perceived in terms of both the intimate gesture expressing emotions and the formal presentation of the family. Dexiosis emphasized a permanent bond as the fundamental element of the family in particular, and society in general. At the same time, it was associated with the theme of farewell. The gesture was performed by two people in a dialogical composition, which clearly showed their mutual relationship and the figures were depicted in various compositions regardless of their gender or age. The motif was also used in the Hellenistic and the Roman art.

Dexiosis is a modern term referring to the handshaking motif appearing in ancient Greek art, which had specific meaning and symbolism. Though it was a characteristic iconographic element of the Classical antiquity, its roots can be traced back to the Archaic period. Dexiosis was not merely a compositional element connecting two people, but carried a deeper meaning. Most often, the motif was associated with funerary art of the Classical Athens. On funerary monuments the deceased were depicted in the circle of their families, which reflected the ideals of contemporary society. Particularly notable is the contrast between the public character of the funerary monument and the private nature of the depiction. Its meaning should be perceived in terms of both the intimate gesture expressing emotions and the formal presentation of the family. Dexiosis emphasized a permanent bond as the fundamental element of the family in particular, and society in general. At the same time, it was associat...

Abstract
This article introduces and evaluates the paintings that adorn the ceilings of the house known by the name of the renowned sculptor İlhan Koman, located in Edirne. The architecture and decoration of this house display the characteristics of the Neoclassical style. It is known that a Greek doctor in 1908 commissioned Greek architects and artists for the work.
Among the paintings that adorn the building's ceilings can be found imaginative landscapes and also views of Istanbul, featuring Fenerbahçe Lighthouse, Rumeli Fortress, and the shores of the Bosphorus. Also depicted are the rock formations of Kleftiko on Milos Island, Greece. Some of the paintings that show individual structures can be said to resemble
architectural portraits. They also include the portrayal of some iconic structures of Ancient Greek and Roman architecture, such as the Hephaestus (Theseion) Temple, Erechtheion, Parthenon Temple, and Hadrian's Arch found on the Acropolis of Athens.
Taken as a whole, the paintings in this house show an exceptional thematic richness of subject matter. Along with the landscapes and buildings, also clearly depicted are such figures as philosophers, scientists, statesmen, and gods and goddesses. One group contains two male figures, one representing a Hellenistic philosopher, the other possibly a blind Homer/Asclepius or the doctor who commissioned the building, along with a portrait of a woman who could be the lady of the house. In another group are depicted Artemis and Aphrodite, possessing the characteristic features of idealized Greek goddesses. The depiction of these portraits in the form of clipeata images, or medallion portraits inspired by the Classical tradition, is especially noteworthy.
A mythological painting that has not survived but is known from an old photograph is also intriguing. The scene shows Thetis' visit to the God of Smithing, Hephaistos (Vulcanus), from Homer's Iliad. The image was based on an illustration by the British sculptor John Flaxman.
The sense of a powerful Greek heritage played a significant role in the creation of the Greek nation state, with the Greek bourgeoisie actively involved. The İlhan Koman House in Edirne was commissioned in this spirit in the early 20th century by a doctor who wished to highlight the past, especially its Classical roots. Though many centuries separate these
paintings from the Classical art that inspired them, there is a sympathetic appreciation of that past. In this regard, the İlhan Koman House stands as an important example of a Greek patron's attempt to reflect his culture and lifestyle by looking back to the Athens of Classical Greece.

Keywords: Edirne, İlhan Koman House, Athens, Wall and Ceiling Painting, Ancient Greek Art, Ancient Temples, John Flaxman