Abstract This paper discusses Romantheatre and explains that it was vastly influenced by the Greektheatre although they have many differences. The paper provides an outline of the general history of Romantheatre and discusses how the Romantheatre gives us an insight on the Romans and their culture. The paper relates that it has played an important part in the beginning and evolution of the European theatre.
From the Paper "The Roman theatre faced some problems in the beginning due to the fact that the audience was distracted by other events. The first performance of Hecyra was a ruin because the audience was distracted by the boxers and the rope dancer. The second performance was again a disaster as people heard of a rumor that a "gladiatorial display was about to take place" (W. Beare, p.165). The stage was a wooden one and some people hold the view that at a time the Romans had created a revolving stage. This is not considered as an authentic historical record of the history of Roman theatre. The actors and their dressing rooms were located behind the stage."
Abstract This paper explains that the Greek, Roman, and Mayan worlds are of prime interest because of their influence upon the cultural and societal aspects of the civilizations that followed them. The author points out that the Mayan religion has greatly influenced Western thought and culture, although not as predominant as the Greek and Roman systems, because of its perceived origins in a traditional non-Western setting. The paper relates that the Mayan pantheon was very complex. Heaven and Hell were not considered either as reward or punishment for behavior on earth; rather, they were the after-life abodes natural to different classes of people, for one passed on to the sphere appropriate to one's class and occupation.
From the Paper "Culturally, the Greek "polis" or city-state was presided over by a particular god as protector and patron, such as Athena for the city of Athens. Different communities could choose the same deity as their protector; Sparta, for example, also had Athena as its patron god. The members of the "polis" constituted a religious association obliged to honor the state's patron deity as well as the community's other gods. Thus, the central ritual of a "polis" was the sacrifice of animals to demonstrate to the gods as divine protectors the respect and piety of the members of the ?polis.?"
Abstract This paper compares and contrasts the Roman and Greek ideals of marriage. The essay analyzes the Roman virtues of marriage and compares it with Greek virtues of matrimony (with respect to the women of the archaic and classical periods). The paper uses "Women in the Classical World" as a reference book for the essay.
Abstract This paper reviews the stylistic connections among Roman, Greek and Etruscan art, brought about by the many historical, political, cultural and economic correlations that existed among these three ancient societies. It focuses on the ways in which the art of the Roman Republic combined elements of both Etruscan and Greek art. The author discusses the distinctions between the art of these three societies.
From the Paper "There are clear stylistic connections among Roman, Greek and Etruscan art a point that should hardly surprise us given the many historical, political, cultural and economic connections that existed among these three ancient societies. But there are also as ..."
Tags: humanism, proportion, Estruscan, Greek, Roman
Abstract In the "Odyssey", Penelope is portrayed as an ideal of aristocratic Greek womanhood. She exemplifies the feminine virtues of hospitality, faithfulness, prudence, and above all weaving, the symbol of chaste, virtuous conduct in women in Greece as much as it was in Rome. The paper examines the way Penelope's character is portrayed by the Roman writer Ovid as opposed to the original Greek written by Homer. The paper claims that Ovid's depiction of Penelope was the exact opposite of the character described by Homer. The paper then examines the reasons for this Roman point of view.
From the Paper "Ovid's approach to Penelope in the Heroides is satirical of the traditional portrait given of her by Homer. Many factors conditioned this choice. Simple repetition of Homer's version of Penelope would not have been sufficiently interesting since that approach was well known. The use of Homer as a schoolbook in Roman education would have encouraged a juvenile and satirical attitude toward the Epics (not that this was the only possible Roman attitude toward Homer!) in the same way that famous events from American history are today commonly used as a basis for satire in various forms of popular culture such as cartoons. The very seriousness of the epic genre, perhaps even more exaggerated in the Roman world than in the Greek, would have invited humor as a kind of relief. Ovid's early works, in any case, tended to be satirical and subversive of genre. The satirical technique Ovid employed in the first poem of the Heroides, a letter supposedly sent by Penelope to Odysseus on the eve of his return to Ithaca, is quite straightforward. He describes Penelope's character, actions, and concerns, as simply being the opposite of what one would expect from reading the Odyssey. The disconnection between this presentation and the reader's expectation provokes a reflection that gives rise to humor. Homer's Penelope is steadfast and resourceful; Ovid's is fearful and whining. Homer's Penelope is faithful and deeply in love with her absent husband; Ovid's is a jealous shrew fearful of his deceiving her with other women. Throughout the poem, every expectation about Penelope that the reader might have is subverted."
Tags: homer ovid greekroman mythology culture oddesy hospitality, faithfulness prudence weaving symbol chaste virtuous heroines epic satirical erotic
Abstract Whatever the degree to which individual people embraced their leaders as literal gods or divine fountainheads, it is clear that such cults played a tremendous role in the religious and political development of ancient societies. The paper shows that this was especially true for Hellenistic Greece and the Roman Empire, both of which existed under these cults - the former providing much of the historical and ideological groundwork for the latter.
From the Paper "The ruler cults of ancient Greece and the later imperial cults of ancient Rome are much-debated topics in classical studies. Historians have long struggled to understand the role that these cults played in the construction of these societies both at the ideological and practical, day-to-day levels. The debate most often revolves around the degree to which these cults could be considered religious institutions at all (Harland par. 1-2). Many critics feel that these cults were little more than opportunistic attempts to manipulate politics in these societies. Others argue that these cults, whatever their political machinations, actually did have religious basis."
The history and development of the architecture of the Roman theater building. An in-depth look at how the ancient Romans borrowed heavily from the Greek example, but improved upon it to create a building that was uniquely Roman.
Abstract The paper discusses in great detail the evolution of the Roman theater, beginning from the Greek wooden origins to the stone monuments that became iconic with Roman architecture during the Republic and the Empire. A brief history of theater is discussed in the beginning of the paper, with special attention given to the religious implications of how theaters were originally set up. The importance of the orchestra and "skene" are given historical background, dating back to early Dionysian worship. The layout of the early Greek theaters are discussed, with a complete layout included that describes the circular performance area, the seating arrangements, background adjustments and a rudimentary stage. The rest of the paper deals with how the Romans, eager to take the art of theater from being a religious practice to more of an entertainment value for the masses, incorporated their own unique designs to the Greek theater layout to create a more efficient and clearly Roman design. Heavy attention is give to Vitruvius and his work " De Architectura" which provides a step-by-step process in which Roman theaters were built. Improvements are discussed from eliminating the completely circular stage to a half-circle, as well as creating an official stage that persists in modern theatrical performances. The paper takes each part of the theater and discusses the area extensively in terms of what the Romans did to improve upon or change from the early Greek models.
From the Paper "Ancient Rome's concept of art and architecture was heavily influenced by the cultures that the Romans had conquered, but were in no way identical copies of the art that existed in those subjugated areas. The Romans excelled at taking artistic ideas from other civilizations and molding them into a form that could undoubtedly be identified as uniquely Roman. This technique can easily be seen in practice when one examines the Roman theater building. Roman theaters can be found throughout the area that used to be the Roman Empire, with remnants of theaters all over Europe and the Mediterranean. These theaters have details and building techniques that are exclusive to Roman designs, but when they are viewed in comparison with ancient Greek theaters, one can clearly see where the Romans received their inspiration."
Abstract This paper traces the history of the architectural form and cultural function of the amphitheatre from its modest beginning in ancient Greece through to the Roman influenced theatre of today. It examines how, although some aspects of their design and function are debatable because so little of their physical structure exists today, Greek theaters can be chronologically classified into three categories: The early Athenian, Hellenistic and Graeco-Roman. It discusses how all of these theaters could be divided into essentially three parts: the theatron (or auditorium), the orchestra and the skene (or scene building) and how these standards developed over time.
From the Paper "In its simplest form the orchestra of a theater is simply a circular plot of land designated as a place for dance and this idea defines the orchestra employed during this time. It was circular in shape with a diameter of about 66 feet and was believed to be a locus for supernatural powers. An altar (or thymele), described as "a short drum of marble decorated with low-relief carvings of garlands and satyrs, or other Greek icons? was usually erected in the epicenter of the orchestra. It was primarily used prior to performances for sacrifices in honor of the god Dionysus, however plays with religious content often incorporated the altar into the performance. A level surface area, raised one foot from the orchestra and situated below the skene, termed the proscenium, served as the area in which the majority of the dramatic action transpired."
Abstract The purpose of this paper is to discuss the Greek and Roman Revival in public buildings, its background, history and development, and to provide an understanding of why it was appropriate for the time and how its popularity has waned and has given way to more egalitarian and user-friendly civic buildings.
From the Paper "The purpose of this paper is to discuss the Greek and Roman Revival in public buildings, its background, history and development, and to provide an understanding of why it was appropriate for the time, but its popularity has waned, and it has given way to more egalitarian and user-friendly civic buildings. During the 20th century, architects were very much on the lookout for the next new thing. This was a period of great change and advancement in society..."
Tags:greek revival, roman revival, neoclassicism, civic architecture
Abstract The writer of this paper details the characteristics of the Roman alphabet which is comprised of 26 letters, ranging from A-Z. This paper discusses how this particular form of communication came into being by tracing its roots back to the Roman empire. The writer contends and explains the manner in which the Roman alphabet came to represent the development of phonetic alphabets in early society in which the Greeks and Romans were considered equal cultures. This paper discusses the ongoing disagreements of various historians in regards to the actual birth of the Roman alphabet which has been adopted by many societies and countries around the world. This paper examines the phonetic aspects of this alphabet and how it's used in numerous world languages. This paper also analyzes the manner in which the alphabet relates to general speech and communication and its relevance in a literate society.
Table of Contents:
Introduction
Characteristics and History
Speech, Writing and the Roman Alphabet
Conclusion
Bibliography
From the Paper "The Roman alphabet is not recognizably hieroglyphic like some examples of hieroglyphic alphabets like ancient Egyptian, in which you can really see the pictogram and say that it is supposed to look like a hawk, or a person, or a temple. Looking at the letter A for example you couldn't really say that it is supposed to look like anything because it just looks like a symbol. Also the Roman alphabet is not syllabic. Some alphabets, such as Korean, have character symbol that means a whole syllabic word or can be combined with radicals to form other wirds. But the Roman alphabet is arranged in a different manner in terms of suggested sounds instead of syllables. There are many perspectives on how the alphabet has helped us."
Abstract This paper researches the correlation between the Ancient Greek past, the Orthodox Church and Greek culture. It focuses on the areas of the evolution of the Greek Orthodox Church and its practices, art, theatre, music and dance. This paper discusses how each of these areas has roots in Ancient Greece, and the research attempts to demonstrate how these foundations were associated with one another throughout Greek culture.
From the Paper " Theatrical performances began with the use of music by choirs that were praising the gods and pleading for a bountiful harvest. This practice among the ancients also involved the earliest forms of folk dance. These three art forms were later also incorporated into the Orthodox religion through festivals and the practice of a liturgy that remains of cultural significance today.Greek culture has evolved from ancient times with many of the original traditions still being honored today. Elements of ancient Greek culture exist in modern society because the Greeks provided a foundation of many of the world's forms of art. Theatre, for example, began in Greece as a musical choir form of devotion to the gods to ensure a good harvest. Greek art was considered an intricate craftsmanship that demonstrated the precision and advanced technique of an innovative culture."
Abstract This paper discusses the understanding of different cultures through a case study of the Greek-American community. It discusses history of the Greeks in America, conflicts between the Greek Orthodox and Roman Catholic Church, as well as Greek stereotypes. The paper was written for a class on cultures and uses terms, such as pluralism, ethnocentrism, and co-cultures. It explores facets of Greek-American culture, including gender roles, Greek identities, and the history of the Greek-American experience.
From the Paper "Despite these problems, pluralism is the accepted practice in the United States. People naturally form groups with other people who are similar to them. Rich people play golf together often, just like bookworms form book clubs with one another. In fact this form of group making is taught throughout school. The first thing we do is place a student in his or her grade level. They are encouraged to spend time with their peers, only. If they stray from their group it is not considered normal."
Abstract This paper discusses the similarities and differences between Greek tragedy and Japanese Noh Drama. It examines how although they are separated by nearly two millennia, by thousands of miles and by cultural differences, both were theatrical traditions involving masked performers, frequent use of music and dancing, on-stage choruses and historic-mythological themes and stories drawn from traditions. It looks at how later centuries' understanding of them, depends heavily on Aristotle's "Poetics" and Zeami's essays on Noh drama and how the two writers' approaches indicate the principal difference in the two traditions.
From the Paper "Greek drama originated in the choral hymns sung to the god Dionysus. Mimed episodes were enacted to accompany the dithyrambs of the seventh century and, as Aristotle has it, a "long series of changes" ended only on Tragedy's "attaining to its natural form" (Aristotle 670). The alternation of choral song and dance with enacted scenes predominated until Aeschylus introduced the second actor and "made the dialogue, or spoken portion, take the leading part in the play" (Aristotle 670). Sophocles introduced the third actor and scenery. And tragedy acquired its magnitude by expanding its scope and increasing the dignity of its presentation. The playwrights proceeded by discarding the trochaic meter, more appropriate to dancing, for the iambic which was more like natural speech."
Abstract In this article, the writer first explains that Greek mythology is a collection of stories by ancient Greeks about their gods and heroes. The writer notes that these stories include myths of the origin of the world, an attempt to understand and interpret the universe and the origin of the world in human terms. Many of these stories have been passed down from ancient times and in more than one version. The writer discusses that ancient beliefs eventually mixed with legends from Greek kingdoms and city-states and myths from other tribes. Together, they evolved into this body of stories that were accepted by most Greeks. These myths were transmitted from generation to generation for hundreds of years in the form of spoken tales. It was not until the Classic Period that these stories were put down in written form. The writer looks at the Greek system of gods and goddesses and concludes that traditional literary mythology reflected an increasing dissociation from actual religious practice.
From the Paper "The leader was Zeus, the god of the sky, the weather, thunder, lightning, and the father of all mortals and immortals. His wife and sister was Hera. Poseidon, his brother, was god of the seas and shaker of the earth or earthquakes. Athena was the goddess of war, of crafts and of wisdom, the wisest of the gods and goddesses. Apollo was the god of light and order, of both plague and healing who foretold the will of Zeus, his father. His twin sister, Artemis, was goddess of childbirth and all wild animals. Aphrodite, a daughter of Uranus, was the goddess of erotic love. Hermes was the guide of souls in the underworld and the god of sleep and dreams. Demeter, the symbol of Gaia, was goddess of the earth and vegetation. His mother Persephone was a sister of Zeus. Dionysus was th god of madness, frenzy, of wine and the theater. Hephaestus was the god of fire and of the crafts. And Ares was the god of war and the only son of Zeus and Hera. Hades was not among the 12, but he was the ruler of the underworld."
Abstract This paper explores the origins, rise and decline of the Greek civilization, beginning with the first Olympic Games and ending with the dawn of the Roman Empire. It expands on all facets of the ancient Greek culture.
From the Paper "It is no doubt impossible to overstate how profoundly ancient Greek civilization has impacted modern Western society. Providing the first known models of participatory democracy, construing philosophical concepts that have roused debate for two and a half million ..."
Tags: ancient Greece, Classical Greek Period, Socrates, Plato, Alexander the Great, ancient civilizations, Greek mythology
