| Papers [1-13] of 13 | Search results on "MINOAN": |
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Ancient Minoan Crete Art, 1986.
Emphasizes paintings in context of Minoan civilization & Minoan impact on Ancient Greek culture.
1,350 words (approx. 5.4 pages), 7 sources, $ 47.95
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From the Paper
"This report will discuss some of the characteristics of the art--particularly the paintings--of ancient Minoan Crete. It will seek to relate these to what we know or can infer about other aspects of Minoan civilization, and will inquire into the Minoan roots of later Western civilization.
The Minoan civilization of prehistoric Crete lies as a great question mark beneath the foundations of Western civilization. Of Minoan history we know almost nothing at all: the Egyptians left only a handful of oblique references to the "Keftiu," and from the Minoans themselves we have only some tablets inscribed in "Linear All--written in no known language--and (from the last period of Minoan civilization) some others inscribed in "Linear B." These can be read; they are in an early form of Greek. Alas, they record no history or poetry, but only "data processing"."
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Minoan Bull-Leaping, 2007.
An analysis of Minoan bull-leaping as an act of human sacrifice.
1,711 words (approx. 6.8 pages), 9 sources, MLA, $ 55.95
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Abstract
This paper argues that bull-leaping was not an intentional act of human sacrifice, but rather a highly prestigious, overtly religious ritual undertaken by the Minoan elite. It describes bull-leaping as depicted in archaeological evidence, explores to what extent the practice could have resembled the artistic depictions of the act and analyses the danger and possibility of performing such a feat. The paper also considers the controversial evidence of "human sacrifice" at the Anemospilia temple; looks at the other violent sports practiced by the Minoans; emphasises the religious significance of bull-leaping and discusses the necessary skill of the bull-leapers themselves.
From the Paper
"That the Minoans practised human sacrifice was a possibility introduced following the grisly findings at the Anemospilia temple. Inside the temple ruins was, as Castleden1 (1990, 168-73) describes, the remains of a young man, with his legs tightly folded up, upon what appears to have been a sacrificial table. A long bronze blade was found beside him. The excavators, Y. Sakellarakis and E. Sapouna-Sakellaraki, proposed that the youth was sacrificed in order to avert the impending earthquake which destroyed the temple. Castleden not only maintains that human sacrifice was performed in this instance, he insists that it would have been an integral religious practise - enacted on many more occasions. He pushes the concept of the Minoans hidden 'shadow side' - mentioning several other examples."
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Minoan and Mycenaean Cultural Forms, 2002.
A comparative analysis of the ancient civilizations of the Minoans and the Mycenaeans.
1,650 words (approx. 6.6 pages), 3 sources, $ 62.95
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Abstract
This paper gives a brief historical overview of the Minoan civilization, and its successor, the Mycenaeans. The two cultures were primarily trade empires, though we remember them mostly through the epic war poems of Homer. The civilizations are not contrasted, but merely compared to show how elements of civilization carry over from era to era, even into our own.
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Egyptian and Minoan Frescoes, 2005.
A exploration of the artistic and stylistic nature of both Egyptian and Minoan Fresco painting.
2,003 words (approx. 8.0 pages), 1 source, MLA, $ 63.95
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Abstract
This paper examines how the exchange of artisitic ideas between Ancient Egypt and the Mediteranean is undisputed and how a comparison of fresco is also relevant and illuminating. It briefly examines two Egyptian Fresco's from the New Kingdom period, namely "Fowling Scene" and "Musicians and Dancers", comparing and contrasting the Egyptian styles with three Minoan frescos including the so-called "Toreador Fresco", as well as "Young Fisherman with His Catch" and "Landscape with Swallows".
From the Paper
"The vivid artistic detailing of Fowling Scene, in addition to the motion and vitally portrayed by the artist(s), is astonishing. The boat on which the family travel is richly detailed, even the wood grain is observable. Papyrus plants grow in a great swath, surging out of the water to the left of the boat. Below the boat, in the water, the details of the fish "show a naturalism based on careful observation" (67). In his right hand, Nebamun clutches three birds he has just caught, while his left hand grips his throwing stick. A large number of birds have been startled into action out of the papyrus swamp, and are shown both perching in various places, as well as in flight. Most curiously, an orange cat, perched on a bowing papyrus stem, has caught a large bird in its mouth and two more in its claws."
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The Minoans Culture, 2002.
Looks at the contributions of the Minoan Culture to Greek civilization and its importance as a principle culture during the Aegean civilization.
1,650 words (approx. 6.6 pages), 4 sources, $ 62.95
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Abstract
The present paper considers Minoan Culture in the context of the Bronze Age and as one of three principal cultures of Aegean civilization. In what follows, this paper elucidates the significance of this culture, noting its contributions to arts and architecture, and as a precursor to Greek civilization.
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The Minoan Octopus Vase, 2008.
A detailed analysis and discussion of the Octopus Vase from Palaikastro, Crete.
1,957 words (approx. 7.8 pages), 5 sources, MLA, $ 62.95
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Abstract
This paper presents a formal art analysis and critique of the Octopus Vase as well as a discussion of the historical and cultural context of the art work. The author describes the vase in great detail and explains how the artist used intangible shapes, unbalanced lines, and unrefined contours to bring the octopus to life. The author discusses the historical background and artistic tradition behind the vase and concludes that it is a superb example of the Minoan culture and a beautiful and unique work of art in its drama, space, composition, motion, line, and style.
Outline:
Introduction
The Image
Formal Analysis
Style
Form
Space
Line
Composition
Motion
Pros of Material
Cons of Material
Pros of Technique
Cons of Technique
Drama
Historical and Cultural Context
Critique of the Artwork
Conclusion
From the Paper
"The Minoan Octopus vase is a great example of art influenced by the Aegean culture. The vase is thought to have been made around 1500-1450 BCE of the Late Minoan IB phase. The influence of Minoan culture was prevalent throughout the island of Crete. Crete was the hub of business for wine and oils which were exported in pottery vases in exchange for food crops from the mainland. Because of Crete's position in the heart of the Mediterranean crops and plants were scarce; this is most likely the use ordained for the Octopus Vase."
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The Bull in Minoan Art, 1997.
Symbolic, religious & mythological significance of the bull in art & culture of Minos & early Greece.
1,575 words (approx. 6.3 pages), 4 sources, $ 55.95
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From the Paper
"The purpose of this paper is to discuss the symbolism of the bull in Minoan art. It will draw upon not only examples of Minoan art but also what is know of the religious associations of the bull in early Greek myth and religion.
Surely all attempts to comprehend the symbolism of the bull in Minoan art must begin from, or at least remain cognizant of, the fresco of the ?bull dancers? found in the palace at Knossos. Greek myth, conveniently summarized in Plutarch?s Life of Theseus, served to preserve a memory of this complex palace; its name or description as labyrinthos, which came to mean a maze, had apparently meant the ?house of the double ax.?
The myths also portrayed the king of Crete, Minos, as a son of Europa, a princess of Phoenicia, who rode on the back of Zeus in the form of a bull to Crete, where he seduced her and fathered Minos.."
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Minoan Art, 1996.
Style & cultural significance of stoneware, pottery, jewelry & architecture of people of Mediterranean island of Crete in 1500-2000 B.C.
1,350 words (approx. 5.4 pages), 5 sources, $ 47.95
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From the Paper
"The name Minoan is given to the civilizations that flourished on the Mediterranean island of Crete during the Bronze Age. The term is also used to identify the earlier Neolithic inhabitants of Crete. Almost nothing was known about the Minoan civilization until the very end of the nineteenth century. Arthur Schliemann, who had recently excavated the sites of Troy and Mycenae, had done some preliminary excavation at Knossos near the north coast town of Heraklion. But it was not until 1897 that Arthur Evans was finally able to excavate the site. The main excavations took place between 1900 and 1905. But Evans' expeditions to Crete continued until 1932 with only a six year break because of the First World War. Evans had originally gone to Crete in search of samples of hieroglyphic writing on stones. In Crete he suspected that extensive ruins of some type were..."
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Human Culture Anthropology, 2008.
An examination of the culture and practices of the Minoan civilization.
841 words (approx. 3.4 pages), 3 sources, APA, $ 29.95
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Abstract
This paper examines what is understood about Minoan civilization from the vast amounts of archeological evidence that has been found. It discusses the social system and trading practices of the culture. The paper then looks at the types of Minoan city construction and the form of writing that has been discovered and associated with the Minoans.
From the Paper
"The result of such extensive trade meant increasing wealth, which was invested in extensive building projects, the arts, and technology. The Minoans, for example, are the only known civilization that constructed multi-roomed buildings that served various sectors of the community, including the poor, while also being the first to have built a plumbing/sanitary system. In addition, it is believed that they were also the first society to include "leisure" in their societal development, which included sports, such as bull jumping and boxing, and which were available to both men and women (Hooker, 1996)."
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Female Art, 2008.
A brief overview of the depiction and place of the female in art in ancient history.
1,480 words (approx. 5.9 pages), 1 source, MLA, $ 48.95
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Abstract
This paper discusses how, because women have always been an integral part of society, their role has been depicted in artwork from the very first sculptures and cave paintings. Not surprising, the way that they have been delineated through art has depended on their changing responsibilities. Also, when women create the art pieces instead of their male counterparts, differences are recognized. The paper compares and contrasts this status within several different cultures such as ancient Greek Egyptian and Minoan cultures. The paper concludes that in most cases, except for the Minoan culture, the women's status continued to decline as the culture became more structured and urban. Except for the earliest times, therefore, women have had a subservient role. This has not only been in Western society, but Eastern cultures as well.
From the Paper
"In the period of approximately 3500 BCE to 635 CE, or during such cultures as the Akkadian, Neo-Summarian, Babylonian and Hittite, when looking at the art work it is difficult to know whether the women are depicting female humans or actual goddesses. For example, a female head from Uruk, Iraq, made out of marble from 3200 to 3000 BCE may be a female head or the Summarian goddess Inanna (34). Inanna., later known as Ishtar, was the Summarian goddess of love and war who was the most important female deity in all periods of Mesopotamian history (35). In a Sumerian ruin from the fourth millennium, statues and reliefs are found that are related to her worship. It is unsure, however, whether or not this goddess was represented in human form at that time. Because of continued importance of fertility at the goddesses at this time, women most likely continued to play an important role. "
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The Roman Empire, 2004.
This paper discusses the Roman Empire from the period of 6000 BC to its collapse in 476 AD, focusing on the more ancient period.
2,460 words (approx. 9.8 pages), 4 sources, APA, $ 74.95
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Abstract
This paper explains that, after the Stone Age, the earliest known Bronze Age culture of Europe and the Mediterranean was the Minoan, an ancient civilization on what is now Crete in the Mediterranean prior to classical Greek culture. The author points out that the advances in building construction led to the widespread use of the arch by the Romans and to the invention of durable cements and concrete for structures that have survived to the present times. The paper clarifies that, although Rome possessed a collection of tribute-states for centuries before the autocracy of Augustus, the pre-Augustan state conventionally is described as the Roman Republic; the difference between the Roman Empire and the Roman Republic lies primarily in the governing bodies and their relationship to each other.
From the Paper
"In discussing history over such great spans of time, historians rely on what is known as the classic three-age system. The system divides early human history into three distinct phases based upon the level of technology developed and the materials used in forming tools. These three ages and their exact placement in time vary according to geographic region; some regions developed the use of bronze and iron before others. Indeed, there are still Stone Age cultures extant on the planet, although that is becoming more and rarer as the years pass. Other ages than the ones mentioned are used by archaeology to delineate ?sub-ages? that distinguish when a particular material (usually a metal) began to be used in tool-making and industry (examples include the Copper Age, the Silver Age, or the Gold Age)."
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Greek Myths and Monsters, 2008.
A discussion of the monsters in Greek mythology.
1,641 words (approx. 6.6 pages), 11 sources, MLA, $ 53.95
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Abstract
This paper discusses three of the monsters of Greek mythology:the Gorgon Medusa, the Minotaur and Scylla and Charybdis. The paper also looks at the role that they play in this culture. The paper explains that among the most grotesque of the Greek monsters was the Gorgon. The paper suggests that the Gorgon is a representation of a human head undergoing decay, more common to the Greeks than to modern peoples, but still distasteful. The paper then points out that just as the Gorgon reflected something the Greeks had seen in real life, the Minotaur may have reflected their revulsion with human sacrifice as carried on by the Minoans of Crete. In conclusion, the paper shows that the Greeks tried to explain their world and to do this they created a series of myths and legends that have vastly enriched the world's lore and literature ever since. While some of their stories seem more than fantastic, on examination, most have a reasonable explanation.
From the Paper
"Medusa was eventually killed by Perseus. He was the product of one of Zeus' many dalliances. Perseus and his mother, Danae, came eventually to the land of Seriphos, where the king fell in love with Danae. Wanting to get Perseus out of the way, the king tricked him into going on a quest for the head of Medusa. (Hard, 239)
"Perseus received help from the gods Hermes and Athena, who sent him to the Graiai, the three "old woman," sisters of the Gorgons, who knew their secrets. The Graiai gave Perseus winged sandals with which he could fly, a cap of invisibility which would let him approach Medusa unseen, and a metal satchel in which he could safely store her head."
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Conventions of Mesopotamian Art, 2005.
An exploration of the conventions of Mesopotamian Art through an examination of four distinct Mesopotamian pieces, including the mediums of relief, stele and painting.
1,219 words (approx. 4.9 pages), 1 source, MLA, $ 41.95
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Abstract
This paper traces the development of the history of art in Ancient Mesopotamia through a specific study of four well known and well preserved pieces of art. The range of dates runs from 2600 B.C. with an examination of the "Standard of Ur", through to 260 A.D. and the "Triumph of Shapur I". It looks at how this period of art history is critical to an understanding of the art of the ancient world and logically precedes Egyptian, Minoan, Greek and Roman Art.
From the Paper
"Of Standard of Ur's two main sides, the 'war side' has immediately recognizable conventions similar to those found in Triumph of Shapur I; four-wheeled war chariots ride down enemies, the bodies of which are trampled beneath the hoofs of the animals. The depictions of war and victory are common motifs in Mesopotamian art. Here, as in Triumph of Shapur I, conventionalization is used, and the four bodies trampled beneath the war chariots, like the trampled body of the Roman soldier from Bishapur, represent the many killed. On the middle tier, the victorious army leads away naked and defeated captives."
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