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Influences of Ancient Egyptian Art on Ancient Greek Art, 2005.
A paper on how Egyptian art influenced Greek artists.
1,350 words (approx. 5.4 pages), 5 sources, MLA, $ 47.95
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Abstract
This paper provides a discussion of the long tradition of the influence of ancient Egyptian art on ancient Greek artists. The paper looks at how the art of both are affected by their societies' world views. The paper discusses the primary functions of Egyptian art and the different style of Greek art, particularly in relation to depiction of figures.
From the Paper
"This paper compares ancient Egyptian art with ancient Greek art and considers the ways in which the Greeks were influenced by Egyptian art. Egypt established a long and enduring artistic tradition. Greek art drew heavily on that background, using many of the same kinds of subjects and incorporating many similar symbols but then reinterpreted them through very different eyes and a strikingly different cultural perception. Both visions continue to have a profound impact on artists in modern cultures from their representation of everyday life to the varied..."
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The Evolution of Greek Art and Architecture, 2005.
Examines the distinct periods in ancient Greek art, architecture, and sculpture.
1,623 words (approx. 6.5 pages), 4 sources, MLA, $ 52.95
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Abstract
Ancient Greek art, architecture, and sculpture have fascinated spectators ever since their discovery. However, while the uninformed viewer might perceive of ancient Greek art, architecture, and sculpture as forming a single period in art history, marked by different styles, art historians have divided it into distinct periods. The paper looks at each of these periods: the Geometric, the Orientalizing, the Archaic, and the Classical, which are explained in terms of how differing philosophical beliefs, historical event,s and cultural developments impacted art, creating different and distinct styles. In specific reference to sculptures, the paper shows that the different styles characterizing each period express different artistic aims as regards to representation of the human body.
From the Paper
"In direct contrast to this archaic statue is a classical one on the east pediment of the same temple. It is calculated that only about a decade separates these two works but, artistically speaking, ages separate them in terms of development of style and form. In this statue, also of a dying warrior, the figure "reacts to his wound as would a flesh-and-blood human. He knows that death is inevitable, but he still struggles to rise once again. And he does not look out at the spectator. He is concerned with his pain, not with us" (Tansey and Kleiner 139). This is definitely a much more realistic picture of a man who is dying from a painful wound."
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Greek Art, 2002.
An analysis of the ancient era of Greek art, focusing on sculptures and paintings.
878 words (approx. 3.5 pages), 3 sources, MLA, $ 31.95
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Abstract
This paper briefly examines the history of ancient Greek art. It focuses on several periods - Archaic Period, Early Classical Period, Golden Age, Late Classical Period and Hellenistic Period. Different types of art forms are discussed and examined how they developed during these periods. The influence of other cultures on Greek art is also analyzed, namely Middle Eastern and Egyptian.
Outline
I. Introduction
A. History
B. Cultural influence
II. Archaic Period (600-480 B.C.)
A. Egyptian influence
B. Middle Eastern influence
III. Early Classical Period (480-450 B.C.)
A. New humanism led to balanced human form
B. Marble and bronze figurines
IV. Golden Age (450-400 B.C.)
A. Temples of the Athenian acropolis
B. Parthenon sculptures
V. Late Classical Period (400-300 B.C.
A. Expression of emotion
B. Individualization and three-dimensional movement
VI. Hellenistic Period (323-31 B.C.)
A. Nike and Aphrodite
B. Terra-cotta figurines
VII. Conclusion
A. Importance of masterpiece copies
B. Influence of Greek culture
From the Paper
"The earlier great cultures of Egypt and the Near East were making art long before the Greeks and much of the early Greek art looks Egyptian, with its stiff and profiled poses and boxy geometric designs. Moreover, the Greeks borrowed the ideas, motifs, conventions, and skills from these earlier civilizations (Tansy 1996). However, it was the Greeks who made the leap into naturalism and in their representations of the human body created an ideal of perfectly balanced proportions that has never been improved upon. Although, we often speak of Greek and Roman in the same breath, the greatest accomplishments of Greek art were five centuries old by the time the Romans began to copy them. "
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?Literature; Ancient Greek Literature?, 2002.
A discussion of the relationship between ancient Greek burial and death rites and ancient Greek literature.
1,409 words (approx. 5.6 pages), 6 sources, MLA, $ 46.95
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Abstract
This paper focuses upon illustrating the relevance of the obvious emphasis and taboo regarding Greek burial or death rites as it is portrayed in a significant amount of ancient Greek literature. It examines how literature has long been a relevant source that historians as well as other scholars can turn to so as to glean at least a marginal understanding regarding the societal norms of the era or culture in particular.
Outline
Introduction
Generalities Regarding Ancient Greek Burial Rites
Relevance of Literary Illustrations Regarding Ancient Greek Perspectives on Death
Burial Rites Within Ancient Greek literature
Conclusion
From the Paper
"One of the first things that essentially needs to be taken into consideration is that, as a result of their significantly un-advanced and superstitiously primitive preconceptions and beliefs, that nearly all kinds of ancient literature is tinged, to some degree or another, with elements of the super natural or paranormal. The occult, witches, curses and ghosts, all are things that are mentioned, with varying degree of figurativeness and realism, within ancient British as well as Greek literature. Moreover, there appears to be a particular degree of emphasis upon the relevance and effectuality of such things as oaths and curses, especially in regard to the likes of such being implemented in concern to a particular person?s death or burial. This something that is quite strongly portrayed when Euripides? Hippolytus, the protagonist within the play, reasserts his confidence to his father in so much as taking an oath that in death may neither sea nor earth receive my flesh, if I have proved false (Lawson, 1964)."
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Ancient Greek Theater, 2006.
A paper on ancient Greek drama, the Greek theater and ancient Greek playwrights.
2,413 words (approx. 9.7 pages), 9 sources, MLA, $ 73.95
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Abstract
This paper discusses the role of ancient Greek drama in Greek society. The paper explains the stage styles, how actors performed and the main types of plays performed in ancient Greek theater. The author discusses tragedies, comedies and a special form of theater called "dithyramb," which was sung by a large chorus. The paper goes on to discuss the importance of the elements of prose, lyrics and dancing in the ancient Greek drama. The paper then goes on to discuss some of ancient Greece's foremost playwrights, as well as theories about the origins of drama.
From the Paper
"The word 'Drama' as such has originated from the Greek words that mean 'to do', or 'to act'. When a story is acted out, it becomes a 'play', and this was the medium used by the ancient Greeks to act out their stories, which were either humorous and were about funny situations in their everyday lives, or they would be great tragedies, which would act out some important episode or period of their lives at the time. The speech and actions of the play would therefore, recreate human lives and its flow. It can be stated that ancient Greece was in fact the real birthplace of the future 'drama' of the Western world. In Greece, these plays or dramas were presented on stage twice a year, in honor of the God Dionysius, and there would be choruses made up of men who would be dressed up in goatskins, and who were meant to represent 'satyrs' or those mythical creatures who were partly goat, and partly man."
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Greek Art and Architecture, 2002.
Discusses the changes which took place in funerary art and architecture of the ancient Greeks.
900 words (approx. 3.6 pages), 2 sources, $ 35.95
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Abstract
In funerary art, the Greeks from the Geometric period in the 8th century through Hellenistic times seem to go from the heroic and noble to the sentimental and mawkish. Is funerary art a clue to the emotional development of a people?
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Ancient Greeks and Hebrews, 2005.
A comparison of the ancient Greeks and ancient Hebrews, in terms of size, religion and philosophy.
675 words (approx. 2.7 pages), 0 sources, $ 26.95
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Abstract
This paper discusses similarities between the ancient Greeks and the ancient Hebrews. It discusses the similarities in terms of both being relatively small kingdoms, both being centered on a few autonomous cities, both with a well-developed religious mythos, and both given to philosophical writings. The paper then compares the ancient Greeks and Hebrews to the ancient Romans.
From the Paper
"Ancient Greece and the ancient Hebrews had similar civilizations in many respects, both being relatively small kingdoms, both being centered on a few autonomous cities, both with a well-developed religious mythos, and both given to philosophical writings. Neither civilization was as grandiose or widespread as the Roman civilization that followed, and both were shaped around smaller groupings of warring cities or tribes. The tribes of Israel were unified and held together first by their beliefs, but they clearly lacked many of the elements considered essential to the concept of a nation. The tribes of Israel never acted long as a unit prior to the time of the rise of the monarchy in Palestine. There was before that time only single tribes, and occasionally small groups of tribes intervening in historical events. The term "nation" used to refer to the Israelites cannot be seen as having the same sense when used for other nations."
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Greek Art and Sculpture, 2002.
An analysis of how nudity was a fact of ancient Greek daily life and how the art--statues-- reflected the Greeks? acceptance of it.
1,828 words (approx. 7.3 pages), 20 sources, MLA, $ 58.95
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Abstract
The following paper examines how all Greek sports, even the Olympic events, were performed in the nude. This paper examines how nudity in and of itself wasn?t the purpose of the art, but was used to best represent the images. The writer explores how women were banned from the Olympics because it was held in a sacred area. This paper also explores how the the nudity in sports gave sculptors a reason to study the human body more closely, and its proportion and movements. The writer traces back early attempts to capture the human form and examines how over time, nude sculptures became smoother and more realistic, while still adhering to the quest for the ideal.
From the Paper
"Even though sculptors eventually worked out the proportions in their work. the Greeks were not known for experimentation with style. Once they found an image that was pleasing, they tended to stick with it. The typical male statue, the Kouros style, had a very distinct pattern that was followed: ?The figure stands erect and strictly frontal with his left leg advanced, his arms tense at his sides with fists clenched. Details are represented with strength and simplicity. The eyes are big and almond-shaped, the ears large and so carved as to form a kind of decorative adjunct; the essential parts of the body are clearly defined and subject to an established canon of proportions, while muscles and bones form surface patterns on the marble. The work already has those qualities of grandeur and proportion which characterize all the best Greek sculpture throughout its history.? (Carver) The male form was the highest level of ideal beauty."
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Hobbes, Machiavelli and the Ancient Greeks, 2002.
A discussion of the similarity in beliefs of Hobbes, Machiavelli and the Ancient Greeks.
1,184 words (approx. 4.7 pages), 3 sources, MLA, $ 40.95
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Abstract
This paper examines the potential link between the philosophies of Hobbes, Machiavelli and the Ancient Greeks. It looks at how the form of ?democracy? we ascribe to the ancient Greeks was no more a democracy than we have anywhere in the world today. It evaluates how in the eras separating Plato from Hobbes, human nature has not really changed a great detail in the hope of finding a better destiny and how man is still reaching for a form of equality especially in politics. In particular, it analyzes the political beliefs of Hobbes and Machiavelli.
From the Paper
"Hobbes, for some reason, feels that there is more equality among men, both physically and intellectually. He sees ?infallible rules, called Science. . .as being not a native faculty, born with us. . .I find yet a greater equality amongst men, than that of strength" (Hobbes, 1985, p. 183). It is interesting that in the middle of the Seventeenth century, Hobbes would find that there seems to be more equality in terms of reason or intellect than in strength. But, what he seems to be really getting at is that there is an equality of ability, not necessarily of fulfilling that intellectual ability."
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"Sacred Geography of the Ancient Greeks", 2005.
An analysis of the use of photography and maps in the book "Sacred Geography of the Ancient Greeks" by Jean Richer.
1,350 words (approx. 5.4 pages), 0 sources, $ 53.95
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Abstract
This paper is a book report on the book "Sacred Geography of the Ancient Greeks" by Jean Richer. The paper notes the way that the author examines astrological symbolism as found in art architecture and landscapes and presents what he finds in terms of the astrological theory accepted by the ancients and then in terms of the way they represented these ideas in their art and architecture. The paper discusses the many photographs and maps of the ancient world that the author makes use of.
From the Paper
"Jean Richer is an academic with a firm grasp of aspects of the ancient world. He has written numerous books aspects of ancient art and the society that produced that art. In the book Sacred Geography of the Ancient Greeks, Richer examines astrological symbolism as found in art, architecture, and landscapes, presenting what he finds in terms of the astrological theory accepted by the ancients and then in terms of the way they represented these ideas in their art and architecture. He provides a detailed examination of the topic, many photographs of the works of art he discusses, maps of the ancient world showing alignments with various celestial and astrological features, and tables and charts that help the reader picture some of the relationships discussed. The book offers an interesting discussion of the topic in a well-written narrative."
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Freedom in Ancient Greek Literature, 2005.
Using literature from this time period, the paper examines how the Ancient Greeks were free to live their lives as they chose.
1,725 words (approx. 6.9 pages), 7 sources, MLA, $ 55.95
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Abstract
The period covered by the term 'Ancient Greece' is a long one, encompassing the Mycenaean period and the subsequent so-called 'Dark Age' (c.1600-900 B.C.), the Archaic Period (c.900-480 B.C.), the Classical period (c.480-323 B.C.) and the Hellenistic period (c. 323-146 B.C.). This essay discusses the Mycenaean, Archaic and Classical periods, using the literature of some of the richest cultural epochs in Ancient Greek history to illuminate questions of freedom in the society of Greece during that time. Works examined include Homer's "The Iliad" and "Hymn to Demeter", Socrates' "Apology" and Sappho's "Hymn to Aphrodite".
From the Paper
"Socrates was a man; no woman could have been brought before a court to face the charges he faced because no woman had the freedom to travel, to question, and to speak in public. Women were perhaps the largest class of the Ancient Greek population to be excluded from the exercise of many of the freedoms we would recognize as important today: political participation, ownership of property and wealth, pursuit of education and careers. Women in the classical period were restricted in their free choice of marriage partners; any dowry was effectively the property of the husband, denying the woman financial independence (Sealey, 67, 77); these restrictions were less evident by the later Hellenistic period, in which women possessed more freedom in their personal lives and control of their own financial affairs (Sealey, 94)."
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Ancient Greek Attitudes, 2007.
This paper explores the status of women, children and slavery in the ancient Greek world.
1,316 words (approx. 5.3 pages), 4 sources, MLA, $ 44.95
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Abstract
The paper discusses the ancient Greeks' attitudes and customs regarding the status of women, children, wealth, education and human slavery. The paper shows how these attitudes were passed down through the generations, into the days of the Roman Empire. The paper relates that Greek attitudes toward women and slavery are still relevant today, as women are still exploited in many ways, particularly in Asia and Africa.
From the Paper
"In ancient Greece, the structure of society as it existed in the city-state or polis was divided into separate layers. At the top resided the royal family and the circle of the king's friends. Next came the social elites or those who owned vast amounts of private property and played major roles in Greek government, much like today's corporate CEO's and members of the U.S. Congress. Next in line were the leaders of the minority urban populations and the traditional lords and princes that had settled in Greece long before the city of Athens became a major center of political power. At the bottom layer were the common masses, such as free merchants, craftsmen, artists and laborers. However, on the outside of this hierarchy lived the slaves who were considered as social pariahs or undesirables by those above them."
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Chorus in Ancient Greek Drama, 2005.
The paper describes the role of the chorus in ancient Greek theater. It talks about the origin of the chorus and theater and how the chorus worked in the Euripides's "Hippolytus". The paper also focuses on the effect Greek theater had on modern theater.
1,824 words (approx. 7.3 pages), 6 sources, MLA, $ 58.95
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Abstract
This paper tells what the chorus brought to Greek theater and how theater was shaped because of it. The paper discusses this topic while examining one of the most famous Greek play, "Hippolytus," by Euripides. The chorus was a crucial part of theater during that time and was used to narrate the story, give their opinion of the plot, and keep a rhythm for the play. The chorus did this in various ways, such as through costumes, stage presence, music, and singing. The Greek chorus was a precursor to operas and musicals as we know them today, and the paper discusses this evolution of the chorus.
From the Paper
"The chorus is essential to ancient Greek drama, and the plays at that time were greatly dependent on song and dance which the chorus performed (Ley 28). It accompanied the actors with sounds, gestures, postures, costumes, masks etc, and these flowing actions and stage elements brought the play to life. The various roles of the chorus are to narrate, give their opinions and keep the rhythm of the play. They do this through singing, movement, and stage presence. The ancient Greek theater is also important because it was the precursor to operas and musicals as we know them today. This paper will discuss the importance of the chorus' roles on the Greek stage by examining Euripides' Hippolytus and also how it influenced modern theater. To fully understand the reason for the chorus it is necessary to know the history."
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The Ancient Greek Amphitheatre, 2002.
A discussion of the evolution of the Ancient Greek Amphitheatre.
2,071 words (approx. 8.3 pages), 10 sources, MLA, $ 65.95
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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."
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Women in Ancient Greek Classics, 2005.
This paper reviews the role of the women in ancient Greek Classics, focusing specifically on 'Medea' and 'Agamemnon'.
900 words (approx. 3.6 pages), 2 sources, $ 35.95
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Abstract
This paper takes a look at four questions of women and politics as reflected in the Greek plays 'Medea' and 'Agamemnon'. The paper discusses the relationship between women and politics, the social and political position of women, how Greek stereotypes of women further each play's dramatic action and how the presentation of women plays into the themes of each play.
From the Paper
"In ancient Greek classics, two of the most common themes involved the role of women in society and the part that politics played. The most intriguing plots occurred when these two themes intersected during a single work. Women and politics indeed come into breathtaking contact in Euripides' play, Medea. The play begins with a nurse telling of the happenings that will lead to tragedy. The action which sets the ball rolling toward tragedy is that "deserting his own children and my mistress [Medea], Jason has taken a royal wife to his bed, The daughter of the ruler of this land, Creon" (Medea 17-19). Here women are not used for love, but instead for the political clout that they might bring, in this case because of the princess, Glauce."
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