Abstract
This paper describes the ways that the Athenians practiced a polytheistic religion which expressed itself through civic festivals and cults. The paper attempts to create an overview of the most important Athenian civic festivals. It describes the way in which each festival provided a basis in Athenian worship, gave Athenian's a sense and a meaning in life and provided them with a sense of identity as human beings.

Table of Contents:
The Panathenaia
The Anthesteria
The Dionysia
The City Dionysia

From the Paper
"The Dipolieia was a very strange Athenian festival that took place two days after another important festival, the Skira (Parke 162). It comprised of a ceremony called the Butaphonia in the honor of Zeus (Parke 162). They celebrated a special aspect of Zeus by this festival, i.e. Zeus as the God of the city and the festivities took place at his altar from the Acropolis (Parke 162). The ceremony implied the sacrifice of an ox and a mock of its restoration to life. The ritual had become antiquated and so did the festival (Parke 166).
In conclusion, the calendar of the ancient Greeks was full with both the specific Athenian festivals and the ones referring to the entire Attica. However, they did not serve only the scope of entertainment, but they supported the development of the sciences and the art while encouraging people to travel and try new things."

Tags:Acropolis, Zeus, Dionysia, Anthesteria, Panathenaia

Abstract
This paper provides an analysis of how exploring alterity through the performances of actors wearing masks in Greek dramas performed at the City, Dionysia permitted Athenian audiences to be both entertained and instructed about important Greek values at the same time. Sophocles' "Oedipus the King" and Euripides' "Cyclops" are used to support the analysis.

From the Paper
"Athenian dramas deriving from the cult of Dionysius eventually evolved to include a chorus of approximately ... men and generally three actors who play multiple roles via the use of masks. These masks permitted actors to play the other something inherent in Greek dramas anyway, since women were not permitted as actors and males played female roles in plays from Euripides' "Medea" to Sophocles' "Oedipus the King". Masks facilitated the playing of the other, whether it was multiple roles, female roles or the more fantastic..."

Tags:satyr plays, tragedies, marriage, family, heroic, ideals, licentiousness

Abstract
This paper discusses the extent to which tragedy was both a part of and, at the same time, reflected the social, political, and religious climate of 5th century Athens. In particular, the writer examines Sophocles' tragedy "Antigone" as an artwork immersed in, and a product of, this complex social climate. A description of the historical and cultural background of the play is given, focusing on the City Dionysia, the Athenian religious festival dedicated to Dionysus' worship, out of which Athenian tragedy developed. Politically, the composition of "Antigone" coincides with Pericles' further development of the Athenian democratic system. The writer shows that Sophocles in his "Antigone" considers various types of justice, power models and the negative consequences of living under a tyrant, and this would resonate with the Athenian audience who were moving from an oligarchical to a democratic government. The paper concludes that artistic forms and content are rooted in the culture from which they emerge and that tragedy is a social, intellectual, and religious, as well as a political tool.

From the Paper
"In the Antigone we are confronted with a clash of wills portrayed through the agonistic struggle of Antigone and Creon, initially, and between Creon and all other characters as the play continues. Set in Thebes (Grene 181), Creon comes to power following the deaths of both of Oedipus' sons, Eteocles and Polyneices. Creon represents the voice of absolute authority; violators of his law are faced with death (line 40). Creon's monarchy is clearly delineated from the direct democracy that the Athenians participated in; to the Athenian, Creon's monarchy clearly reflects the negative aspects of oligarchy, including that of the Spartans."

Tags:strategoi tribute ceremony polis Ekklesia citizen, civic ideology, rhetoric