Greek Drama and Its Effects on Drama Today
It has been said that the Ancient Greeks "took their entertainment very seriously and used drama as a way of investigating the world they lived in, and what it meant to be human" (PS, 2002). This is perhaps the greatest contribution Greek Drama has made to the developing art of film and theatre in the modern world. Intertwining philosophy and entertainment, the Greeks developed their perspectives through three kinds of plays: comedy, tragedy and Satyr.

Of these three, tragedy had the important role of dealing with themes related to heavy human emotions of love, greed, jealousy and the relationships between men and the immortal Gods and Goddesses of the Greek belief system. Through these relationships, Greek playwrights created a backdrop for the average Ancient Greek to examine within themselves their own ideals and morals as the drama they were watching unfolded.

Like Ancient Greek drama,…...

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Bibliography

The Different Types of Greek Drama and their importance"

The Greeks

PBS, PBS website 2003 www.pbs.org/empires/thegreeks/background/24c_p1.html

Griffiths, B. "Classical Drama"

Clearly, there are more characters in these three plays individually and together than in Prometheus Bound, and the ethos of individual characters is maintained so that their character is consistent through the three plays. This differs from what might be seen in the three plays by Sophocles about Oedipus, but Oedipus Rex, Oedipus at Colonus, and Antigone were not linked and were indeed each part of different trilogies of plays on the same basic subject. In the Oresteia, characters carry from one play to the next and show the same sorts of consistent traits. The trilogy gains its name from the central role of Orestes, and there is unity of plot in that each of the plays centers on the travails of Orestes and the pursuit of him for killing his mother and because Agamemnon killed his daughter. The unities of time and place are maintained within each play, though…...

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Works Cited

Aeschylus. Oresteia (Richard Lattimore, tr.). Chicago: University of Chicago Press, 1953.

Aeschylus. "Prometheus Bound." In Greek Tragedies Volume I, David Grene and Richard Lattimore (eds). Chicago: University of Chicago Press, 1960.

Aristotle. The Complete Works of Aristotle: Volume Two (Jonathan Barnes [ed.]). Princeton: Princeton University Press, 1984.

The director's camera seems anchored rather than fluid, and does not make use of the full vocabulary of cinematography. There are a few exceptions to this sense of stasis, such as when Helen of Troy, the most beautiful woman in the world, bathes in water while the other Trojan women, captives of war, are dying of thirst outside in the heat. The contrast between Helen's moist, soft skin and the weather-beaten, tired face of Hecuba transcends words, and the juxtaposition of the aridness and the water gives added meaning to the text. But these moments are rare.
The theme of "The Trojan oman," although an ancient play, should present a compelling interest for the present day viewer -- that of the horrors of war and the horrible ways that women are treated during wartime. But few connections are made between the present day and ancient times. There are no contemporary…...

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Works Cited

The Trojan Woman." Directed by Michael Cacoyannis. 1971.

Tourism takes a substantial place in the economy of Cyprus. Tourism has such an impact on Cyprus culture and daily life that the industry contributed 10.7% or US $5,445.0 mn of the GDP in 2006, allowing for job creation approximated at 113,000 jobs. (Micula and Micula) Thanks to consistent tourism, Cyprus has become the 40th most popular place to visit, inspiring almost 3 million tourists to come each year. Since 1975, Cyprus has been orld Tourism Organization full member and offers scenic views, high quality food, and ancient archaeological sites for any would-be traveler. (Micula and Micula) However, one thing makes Cyprus different from other destinations. That is the divide between Northern Cyprus and Southern Cyprus. This essay will detail how the difference in the north and south side contribute to tourism on the island and how it influences the busy tourism season and which activities promote more tourist engagement.
Quick…...

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Works Cited

Bowman, Jim. Narratives of Cyprus: Modern Travel Writing and Cultural Encounters Since Lawrence Durrell. I.B.Tauris, 2014.

Constandinides, Costas, and Yiannis Papadakis. Cypriot Cinemas: Memory, Conflict, and Identity in the Margins of Europe. Bloomsbury Academic, 2015.

Dubin, Marc, and Damien Morris. Cyprus. Rough Guides, 2002.

Frykman, Jonas, et al. A Companion to the Anthropology of Europe. Wiley-Blackwell, 2016.

Greek Project 1272
ART204 Formal Research Project Summer Term 2012

Ancient Greek sculpture is one of the most famous historical forms of art. Three main forms of life are represented by this sculpture; war, mythology, and rulers of the land of ancient Greece. The main aim of the paper is to revisit the history of the art of sculpturing in ancient Greece and different steps of its development within different time periods. Some of the main developments in Greek sculpture included depiction of changes in forms, depiction of female and male figures, degrees of present realism, and how sculpturing was used to achieve these effects.

Developments in Greek Sculpturing techniques

There are four main periods in which main developments and changes in the Greek sculpturing took place. The first period is referred to as the geometric period; second period is the archaic period, the third one being the classic and the last and fourth…...

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Works Cited

Dillon, Sheila. Ancient Greek Portrait Sculpture: Contexts, Subjects, And Styles. Cambridge University Press, 2006.

Dillon, Sheila. The Female Portrait Statue in the Greek World. Cambridge University Press, 2010.

Giannakopoulou, Liana. The Power of Pygmalion: Ancient Greek Sculpture in Modern Greek Poetry, 1860-1960, Volume 3 of Byzantine and Neohellenic Studies. Peter Lang, 2007.

For example, founding cities on royal possessions gave less profits, as direct and indirect taxation of cities appeared in many cases less profitable than taxation of royal landowners. From the other side, urbanization also led to the weakening centralization.
But in a general scope one the hand with military and economical advantages urbanization also led to cultural Hellenization, which is considered to be its main political achievement. it's important to note that a number of kingdoms in Asia Minor and Middle East adopted Greek law and Greek civil norms. Such changes had a very progressive effect on social life, as it led to the reduction of slavery and guaranteed protection of property rights to citizens in former despotic societies.

Cultural interaction of Greek polises with natives led to the penetration of local customs and cultural traits to the life of Greeks. Greek culture of polises experienced deep interaction with Persian and…...

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References

Boardman, J. Griffin, J. Murray, O. The Oxford Illustrated History of Greece and the Hellenistic World Oxford University Press, 2001

Tarn, W.W. The Greeks in Bactria and India Cambridge University Press, 1997

Greek

Except for Miletus, which was sacked as an initiator of the revolt, the other cities were treated rather reasonably, going as far as recommendations for the settled Persians to respect local religious traditions (Herodotus VI 42-45).
This does not necessarily need to be seen only as a reasonable conquering policy, but also as a diplomatic and political approach: once Darius asked for the submissions of mainland Greek cities, many of them accepted, based on the previous behavior of the conquerors in Ionic cities. Athens and Sparta obviously remained aside, but this was also because they were also assuming a regional power status and would not find it calculable to surrender without a fight.

Reasonably enough, though, the Persian invasion could also be seen as a direct consequence in the involvement of the Athenians in the revolt of the Ionic cities and in their attempt to preserve a democracy here and consolidate…...

Greek Civilization:
Compare Greek religion in the two different periods in history in the eighth century, the time of Homer, and in the fifth century BCE, according to the following:

The different ways they believed their gods intervened.

During the Epic Age, that of Homer, they believed that the God directly intervened in the lives of human beings. Over time, as the rulers of Greece became more powerful, the population began to feel that although the Gods could control lives, they were mostly observers rather than direct participants.

Whether they believed their gods favored or punished specific individuals for moral reasons.

In the 8th century BC, the people believed that the Gods punished behavior, but that the punishments were more targeted at individuals who disrespected the gods rather than those who committed crimes or sins. As exemplified in Antigone, the people feared that if they defied the gods then they would be punished either in…...

The vengeance of the gods is further underscored by the Chorus who warns that "But if any man comes striding, high and mighty, in all he says and does, no fear of justice, no reverence for the temples of the gods-let a rough doom tear him down, repay his pride, breakneck, ruinous pride!" Oedipus portrays tyranny and the people's greatest blessing becomes their worst curse.
In the last stage, Oedipus is a man who has become humbled with the pain and dejection of knowing the truth of reality as he is forced to admit his tragic destiny by the overwhelming evidence. The writer shows the sudden change in the protagonist's persona when Oedipus condemns himself by saying, "I stand revealed at last -- cursed in my birth, cursed in marriage, cursed in the lives I cut down with these hands!" (1309-1311) Oedipus's complete transformation is demonstrated when he gouged out…...

Also, this carving is quite sentimental in appearance, for it reflects "the solemn pathos of the Greek citizen, much like some of the sculptures found on the pediment of the Parthenon" (Seyffert, 245).
Our last artifact is titled Pair of Armbands with Triton and Tritoness Holding Erotes, made in the Hellenistic period, circa 200 .C.E. These jewelry objects were apparently designed for a woman of high Greek culture, for they are made from solid gold and are fashioned in the shape of two loosely-coiled snakes or serpents. Whomever designed these intricate and beautiful objects realized the special properties of gold, for the woman lucky enough to wear these could easily slip her arms through the loops, due to the malleability of solid gold. The two figures located at the tops of each piece are representations of Triton and Tritoness, most closely associated with the Greek god of the sea Poseidon.

As…...

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Bibliography

New Greek and Roman Galleries." The Metropolitan Museum of Art. Internet. 2007.

Retrieved at  http://www.metmuseum.org/special/greek_roman/images.asp .

Seyffert, Oskar. The Dictionary of Classical Mythology, Religion, Literature and Art.

New York: Gramercy Books, 1995.

Greek Sculpture
A Timeline of Greek Sculpture

Polykleitos, Doryphoros (early fourth century BC)

As Paul Johnson (2003) records, this ancient example of Greek classicalism "epitomizes a canon of male beauty embodied in mathematical proportions" (p. 63). Showing the perfection of contraposto, Doryphoros (or the spear-carrier) is a balanced representation of the body's muscles. Polykleitos, a contemporary of Phidias, had his own school of young artists, which carried on into the third century BC. Polykleitos' works are treated on in his own treatise, called "The Canon," which gave explicit attention to symmetry, clarity, and wholeness. The Spear-carrier is one of the best examples of Polykleitos' teaching -- however, this example is a copy of his original, and is held in Naples -- a fitting representation of the art of Greek sculpting.

Praxiteles, Aphrodite of Knidos (mid-fourth century BC)

Praxiteles actually made two statues for Kos -- so the legend goes. One statue depicted Aphrodite (Venus), modestly…...

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Reference List

Agony -- The Famous Group of Laocoon. (n.d.) Old and Sold. Retrieved from  http://www.oldandsold.com/articles26/rome-19.shtml 

Haaren, J. (2000). Famous Men of Greece. Lebanon, TN: Greenleaf Press.

Johnson, P. (2003). Art: A New History. New York, NY: HarperCollins.

The Farnesse Bull. (n.d.) Old and Sold. Retrieved from  http://www.oldandsold.com/articles26/naples-5.shtml

omen in Ancient Tragedy and Comedy
Both the drama of Euripides' "Medea" and the comedy of Aristophanes' "Lysistrata" seem unique upon a level of even surface characterization, to even the most casual students of Classical Greek drama and culture. Both in are female-dominated plays that were produced by male-dominated societies and written by men. Both the drama and the comedy features strong women as their central protagonists, whom are depicted under extreme circumstances, in relatively positive lights. And both plays, despite their very different tones, also have an additional, unique feature in that they show 'the enemy' -- or the non-Greek or non-Athenian, in a fairly positive and humane fashion.

The sympathies of the viewer for female's plights are immediately arisen by Aristophanes from the first scene of "Lysistrata," as Cleonice, the friend of Lysistrata, and a common Athenian housewife states, regarding the lateness of the other women that frustrates the organizing…...

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Works Cited

Arkins, Brian. "Sexuality in Fifth-Century Athens." Ancient History: Journal of University College Dublin, Ireland, Volume 1: 1994. http://ancienthistory.about.com/gi/dynamic/offsite.htm?site=http://www.ucd.ie/%7Eclassics/94/Arkins94.html

Aristophanes. "Lysistrata." Retrieved on 6 November 2004 from Exploring World Cultures Website, 1997. http://m3.doubleclick.net/875354/freeze10012004.html

Euripides. "Medea." MIT Classics Archive, 2001. Retrieved on 6 November 1997 at  http://classics.mit.edu/Euripides/medea.html 

Hemminger, Bill. "Why Study Ancient World Cultures?" Retrieved on 6 November 2004 from Exploring World Cultures Website, 1997.

Mediterranean agriculture therefore turned out as extraordinarily market-oriented.
Slavery turned out to be a further key component of the Mediterranean world economy. Aristotle was among the Philosophers who came up with the justifications for requisite of slavery to a proper society, for exclusive of slaves it would have been challenging for aristocrats to learn what was required to maintain culture or have the time to nurture political virtue. Slaves were obtained as a consequence of wars, bizarrely common in the Mediterranean world. Athenians relied on slaves for household jobs as well as workers in their enormous silver mines, which accelerated the development of Athens's empire as well as money-making operations, even though working environment were awful. Slavery also assisted elaboration on why Greece was never particularly engrossed in technological modernism appropriate to either agriculture or manufacturing. The Greeks established significant advances in building ship as well as routing, which proved…...

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Work Cited

Baeck L (1994) the Mediterranean tradition in economic thought. Routledge, New York [Routledge history of economic thought series, vol 5, 1994]. Retrieved on April 30, 2013 from:  https://www.google.com/search?q=Bibliography+on+Political+and+social++impact+of+Greek+on+the+Mediterranean+world&ie=utf-8&oe=utf-8&aq=t&rls=org.mozilla:en-U.S.:official&client=firefox-a .

John Boardman (1999). The Greeks Overseas: Their Early Colonies and Trade, 4th edition, Thames and Hudson. Retrieved on April 30, 2013 from: http://suite101.com/article/greek-colonization-and-its-impact-on-the-mediterranean-world

Perrotta C (2003) the legacy of the past: ancient economic thought on wealth and development. Eur J. Hist Econ Thought 10(2):177 -- 219. Retrieved on April 30, 2013 from:

Origin and Appeal of Drama
A generally accepted theory is that drama's origins lie in prehistoric human beings and their rituals which contained music, dance, masks, costumes, a specific performance area, and a division between audience and performance. Later, in Egypt about 4,000 C texts were written on tomb walls with plot, characters, and stage directions for enacting the body's resurrection. etween 3,000 and 2,000 C other plays developed which were performed at the coronation of the pharaoh (coronation plays), celebrated pharaoh's 30th year on the throne (jubilee plays), and which were part of religious festivals (passion plays).

Western drama as we know it today started about 600 C in the ancient city-state of Athens when a Greek poet named Thespis got the idea for an innovation to music. At that time a Greek chorus, with a leader, sang songs about legendary heroes. Thespis, who was probably the leader of the…...

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Bibliography

"Drama: Definition" and Much More From Answers.com:

  hl=plays 'Ancient Drama":http://www.answers.com/topic/drama?hl=theatrical& ;

http://www.geocities.com/broadway/balcony/7634/ancient_drama.htm?200517

'Theatre History Thru Renaissance"

Greco-oman Tradition
How does the ideal of heroic citizenship change from the Greek mythopoetic tradition through the emergence of Greek tragic drama to the late Stoicism of oman imperialism?

Mythopoeic thought holds that the occurrences of events are the result of an act of will on the part of gods and spirits. A thread of anthropomorphism runs through this mythopoeic thinking as impersonal laws of nature and the deductive generalizations of logic are not a part of the mythopoeic framework: instead, every event is an aspect of some personal being. A mythopoeic orientation is one of the most primitive lenses used by humans to explain and attribute meaning to phenomena. Sensemaking in naive cultures typically involves attribution of human motivation to the inanimate and to otherwise inexplicable events. Indeed, the term mythopoeic means myth-making, from the Greek muthos or myth and poiein which means to make. From the anthropomorphic position of the…...

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References

Bowra, C.M. (1957). The Greek Experience. New York: Praeger. In Steven Kreis, History Guide (2006).

Dunkle, R. (1986). The classical origins of western culture. Brooklyn, NY: Brooklyn College, The City University of New York.

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