Greek writing in its aesthetic context: Archaic and Hellenistic arts and letters - Ph.D., The University of Wisconsin - Madison, 2004

241 Pages·2004·14.39 MB·English

by  Pappas

GRl;:l~K WRITING lN ITS .AESTHETIC CONTEXT:
ARCHAIC AND HELLENISTIC ARTS AND LETT'ERS
by
ALEXANDRA PAPPAS
A dissertation submitted in partial fulfillment
of the requirements for the degree of
Doctor of Philosophy
(Classics)
at the
University of Wisconsin-Madison
2004
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UMI Number: 3128124
Copyright 2004 by
Pappas, Alexandra
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A dissertation entitled
Greek Writing in Its Aesthetic Context: Archaic and Hellenistic Arts and Letters
submitted to the Graduate School of the
University of Wisconsin~Madison
in partial fulfillment of the requirements for the
degree of Doctor of Philosophy
by
Alexandra Pappas
Date of Final Oral Examination: December 15, 2003
Month & Year Degree to be awarded: December May 2004 August
**************************************************************************************************
Approval Signatures of Dissertation Committee
Signature, Dean of Graduate School
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
.FOR J.P. G.
nam sine te nostrum non valet ingeniwn
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l1
0t 11_\ 0I '/'0<; 'TW~"". V 1rPfL'YfWI /T(d'V 1€ f<' WV! t:'): 'CTTIV.
"The word is an image of things."
Simonidcs, 190b Bergk
"Seeing comes bef{Jre words .. Jt is seeing which establishes our place in the surrounding
world; we explain that world with words, but can never undo the fact that we are
surrounded by it. The relation between what we see and what we know is never settled."
John Berger, Ways (?/Seeing: 7
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lH
lJ.st of illustrations pagCIV
Acknowledgements Vl
[NJ'RODUCTION
1. THE ARCHAIC Am)N: HAVING WORDS OVER 1M AGES
Introducti.on 4
Homer: Poetic Kleos and Material Semata 6
Hesiod: Poetic Truth and Material Fiction 16
Sirnonides: Poetic Memorials and Material Commemoration 23
Pindar: Poetic Mobility and Material Fixity 33
Conclusion 39
2. THE ART OF WRITING: ARCHAIC GREEK INSCRIPTIONS
Introduction 41
Methods 43
Survey of Archai.c Graffiti and Dipinti 52
Inscriptions in Abstract Contexts 64
Inscriptions in Figural Contexts: Non-Attic 75
Inscriptions in Figural Contexts: Attic 104
Conclusion 139
3. LANGUAGE ARTS: HELLENISTIC TECHNOPAEGNIA
Introduction 141
The Authors of the Technopaegnia 143
The Technopaegnia as Epigrams 146
The Content of the Poems 154
The Wings of Simi as 154
The Axe ofSimias 162
The Egg ofSimias 168
The .s:vrinx of Ps.-Theocritus 181
The Altar ofDosiadas 195
Conclusion 209
CONCLUSION 215
Abbreviations and BibliQgraphy 221
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iv
IU.,USTRATIONS
TABLE l. The Types of Writing page 45
FIGURE 1. Attic oinochoe, c. 740. Athens, NM 192. 66
.FKiURE 2. Pithccoussan skyphos, c. 735~ 720. lschia 1\tluseum. 68
FIGURE 3. Euboean aryballos, c. 675-650. Boston, MFA 98.900. 70
FlGURE 4. Attic lekanis lid, c. 630~620. Athens, NM 852. 71
FIGURE 5. Boeotian aryballos, c. 600-550. London, BM 1873.2-8.2. 73
FIGURE 6. Pithecoussan kratcr fragment, c. 725-700. 76
FIGURE 7. Boeotian figurine, c. 700-675. Boston, MFA 03.997. 78
FtGURE 8. Aeginetan py:xis, c. 675-650. Acgina K 267. 80
FIGURE 9. Corinthian olpe, c. 640-630. Rome, Villa (]Julia 22679. 82
FIGURE 10. Corinthian alabastron, c. 630-600. 84
FIGURE 11. Corinthian aryballos, c. 625-600. Athens, NM 341. 86
FIGURE 12. Corinthian aryballos, c. 595-570. Corinth, C-54-1. 88
FIGURE13. Corinthian kotyle, c. 595-570. Paris, Louvre CA 3004. 90
FIGURE 14. Corinthian lagynos, c. 595-570. Athens, NM 277. 93
FIGURE 15. Corinthian pyxis lid, c. 595-570. Munich SH 327. 95
FIGURE 16. Corinthian pyxis, c. 570-550. Paris, Louvre E 609. 97
FIGURE 17. Corinthian olpe, c. 570-550 ..A thens, NM 521. 99
FIGURE 18. Corinthian amphora, c. 570-550. Zurich ETH B-4. 101
FIGURE 19. Corinthian oinochoe, c. 570-550. London, BM B 39. 101
FIGURE 20. Corinthian psykter, c. 570-550. Brussels R 248. 102
FIGURE 21. Attic skyphos, c. 650-620. Athens, Agora P 7014. 105
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v
FIGURE 22. Attic stele, c. 650··600. Athens, EM I 0646. 106
FlGURE 23. Attic amphora, c. 630~600. Athens, NM l 002. 108
FIGURE 24. Attic krater, c. 570. Flmcncc 4209. 110
FIGURE 25. Detail, Attic kratcr, c. 570. Florence 4209. 113
FlGURE 26. Attic aryballos, c. 570-550. New York 26.49. 115
FIGURE27. Attic amphora, c. 565-545. Boston, JVlFA 98.916. 117
.FIGURE 28. Attic amphora, c. 565-545. London, BM B48. 119
.FICHJRE 29. Attic cup, c. 550-530. Boston, MFA 95.17. 121
FIGURE 30. Attic cup, c. 550-530. Munich 2243. 123
FIGURE 31. Attic amphora (side B), c. 550-530. London, BM B 2 I 0. 126
FIGURE 32. Attic amphora (side A), c. 550H530. London, BM B 210. 127
FIGURE 33. Attic amphora (side A), c. 550-530. Vatican 344. 129
FIGURE 34. Attic amphora (side B), c. 550-530. Vatican 344. 131
FIGURE 35. Attic amphora, c. 550-530. Berlin 1720. 132
FIGURE 36. Attic skyphos, c. 515. Elvehjem 1979.122. 133
FIGURE 37. Attic kantharos, c. 530-500. Munich 2307. 135
FIGURE 38. Attic cup, c. 500-480. Paris, Louvre G 105. 137
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VI
ACKNOWLEUG.KlVIJl:NTS
I arn indebted to the supporters ofthis project, \Vho have contributed directly to its
scholarship and otherwise encouraged its author toward completion. My fbremost thanks
go to my dissertation advisor, Barry B. Powell, and Patricia A. Roscnmcycr, advisor in
n:umy matters. Professor Powell's own influential work has inspired many aspects of this
one. His \Villingness to share his expertise and his close scrutiny of multiple chapter
drafts have greatly improved the quality of this dissertation and my scholarly writing.
Professor Rosenmeyer has been fundamental to eve1y stage of this study, patiently
entertaining wild, scattered suggestions at its inception, buoying me during intermittent
moments of doubt or confusion, and gently but firmly guiding it toward its final form.
I also extend my gratitude to Nicholas D. Cahill, Silvia Montiglio, and FrankL.
Salomon for serving on my defense committee; for generously sharing their forthcoming
publications, Kathryn J. Gutzwiller and Robin Osborne; for explanations of meter,
infallible proofreading, and unf1agging good cheer, James C. McKeown; for inspiration
by example and indelible conversations, Emmett L. Bennett, Jr. and Steven :Lowenstam;
for all matters of administrative support, Cheryl Am; technical support, Matthew F.
Amati; help with French translation, Colleen M. Bayley; for generous funding, the
Graduate School and the University Dissertator Fellowship Committee.
Finally, I acknowledge my personal cheerleaders: Peggy Bible, Lew Bowers,
Martha EzeU, Jeffrey Gingras, William Irwin, Andy Karozos, Rachel McMullin, Nika
Ezell Pappas, Holly Sypniewski. and in the place of honor she deserves, my mother,
Susan Fries.
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