• Complain

S. Rebecca Martin - The Art of Contact: Comparative Approaches to Greek and Phoenician Art

Here you can read online S. Rebecca Martin - The Art of Contact: Comparative Approaches to Greek and Phoenician Art full text of the book (entire story) in english for free. Download pdf and epub, get meaning, cover and reviews about this ebook. year: 2017, publisher: University of Pennsylvania Press, genre: Art. Description of the work, (preface) as well as reviews are available. Best literature library LitArk.com created for fans of good reading and offers a wide selection of genres:

Romance novel Science fiction Adventure Detective Science History Home and family Prose Art Politics Computer Non-fiction Religion Business Children Humor

Choose a favorite category and find really read worthwhile books. Enjoy immersion in the world of imagination, feel the emotions of the characters or learn something new for yourself, make an fascinating discovery.

No cover
  • Book:
    The Art of Contact: Comparative Approaches to Greek and Phoenician Art
  • Author:
  • Publisher:
    University of Pennsylvania Press
  • Genre:
  • Year:
    2017
  • Rating:
    4 / 5
  • Favourites:
    Add to favourites
  • Your mark:
    • 80
    • 1
    • 2
    • 3
    • 4
    • 5

The Art of Contact: Comparative Approaches to Greek and Phoenician Art: summary, description and annotation

We offer to read an annotation, description, summary or preface (depends on what the author of the book "The Art of Contact: Comparative Approaches to Greek and Phoenician Art" wrote himself). If you haven't found the necessary information about the book — write in the comments, we will try to find it.

The proem to Herodotuss history of the Greek-Persian wars relates the long-standing conflict between Europe and Asia from the points of view of the Greeks chief antagonists, the Persians and Phoenicians. However humorous or fantastical these accounts may be, their stories, as voiced by a Greek, reveal a great deal about the perceived differences between Greeks and others. The conflict is framed in political, not absolute, terms correlative to historical events, not in terms of innate qualities of the participants. It is this perspective that informs the argument of The Art of Contact: Comparative Approaches to Greek and Phoenician Art.

Becky Martin reconsiders works of art produced by, or thought to be produced by, Greeks and Phoenicians during the first millennium B.C., when they were in prolonged contact with one another. Although primordial narratives that emphasize an essential quality of Greek and Phoenician identities have been critiqued for decades, Martin contends that the study of ancient history has not yet effectively challenged the idea of the inevitability of the political and cultural triumph of Greece. She aims to show how the methods used to study ancient history shape perceptions of it and argues that art is especially positioned to revise conventional accountings of the history of Greek-Phoenician interaction.

Examining Athenian and Tyrian coins, kouros statues and mosaics, as well as the familiar Alexander Sarcophagus and the sculpture known as the Slipper Slapper, Martin questions what constituted Greek and Phoenician art and, by extension, Greek and Phoenician identity. Explicating the relationship between theory, method, and interpretation, The Art of Contact destabilizes categories such as orientalism and Hellenism and offers fresh perspectives on Greek and Phoenician art history.

S. Rebecca Martin: author's other books


Who wrote The Art of Contact: Comparative Approaches to Greek and Phoenician Art? Find out the surname, the name of the author of the book and a list of all author's works by series.

The Art of Contact: Comparative Approaches to Greek and Phoenician Art — read online for free the complete book (whole text) full work

Below is the text of the book, divided by pages. System saving the place of the last page read, allows you to conveniently read the book "The Art of Contact: Comparative Approaches to Greek and Phoenician Art" online for free, without having to search again every time where you left off. Put a bookmark, and you can go to the page where you finished reading at any time.

Light

Font size:

Reset

Interval:

Bookmark:

Make

The Art of Contact

The Art of Contact

Comparative Approaches
to Greek and Phoenician Art

S. Rebecca Martin

The Art of Contact Comparative Approaches to Greek and Phoenician Art - image 1

The Art of Contact Comparative Approaches to Greek and Phoenician Art - image 2

This book is made possible by a collaborative grant from the Andrew W. Mellon Foundation.

Copyright 2017 University of Pennsylvania Press

All rights reserved. Except for brief quotations used for purposes of review or scholarly citation, none of this book may be reproduced in any form by any means without written permission from the publisher.

Published by

University of Pennsylvania Press

Philadelphia, Pennsylvania 19104-4112

www.upenn.edu/pennpress

Printed in the United States of America on acid-free paper

10 9 8 7 6 5 4 3 2 1

A Cataloging-in-Publication record is available from the Library of Congress

ISBN 978-0-8122-4908-8

Contents

Color plates follow

Map 1 The Mediterranean showing a simplified reconstruction of Phoenician and - photo 3

Map 1. The Mediterranean, showing a simplified reconstruction of Phoenician and Greek colonies and trading areas. By Sveta Matskevich.

Map 2 Greece and the Aegean Redrawn by Sveta Matskevich after Hall 2002 map - photo 4

Map 2. Greece and the Aegean. Redrawn by Sveta Matskevich after Hall 2002, map.

Map 3 Phoenicia and Cyprus Redrawn by Sveta Matskevich after - photo 5

Map 3. Phoenicia and Cyprus. Redrawn by Sveta Matskevich after http://ngm.nationalgeographic.com/ngm/0410/feature2/images/mp_full.2.jpg .

Map 4 The Achaemenid Empire Redrawn by Sveta Matskevich after Briant 2002 - photo 6

Map 4. The Achaemenid Empire. Redrawn by Sveta Matskevich after Briant 2002, 366, .

, , , , , ..

Here is the inquiry of Herodotus of Halicarnassus so that things done by man not be forgotten in time and that great and marvelous deeds, some by the Hellenes, some by the barbarians, not lose their glory; and especially that the causes may be remembered for which these waged war with one another. Those of the Persians who have knowledge of history declare that the Phoenicians were the cause of the dispute.

The proem (1.1.11.5.4) to Herodotoss history of the Greek-Persian Wars is a discussion of causation. For good reason it is one of the most studied passages in classical history. then kidnapped the king of Tyres daughter Europa.

As far as Greek-Phoenician contact studies go, there is something to learn in these Persian tales. At first it is surprising that Herodotoss Persian sources do not blame the Greeks from the outset, or not directly; It is a compelling idea with which to begin.

Many attempts have been made to sort through and characterize just this kind of intense interaction in the eastern Mediterranean in which the coastal Levant was a regular participant.

Hellenization is a problematic and dissatisfying term thought to describe an acculturation process through which people become more Greek. but in fact are fundamental critiques of the concepts merits. As I will argue, Hellenization and Orientalization by any other names are just as flawed.

Although its proponents now tend to describe it as an active process on the part of the Hellenized, Of these alternate models, hybridity is currently the most popular in ancient Mediterranean studies, though, as I will argue, it can serve as another proxy for acculturation. Hence this book requires at least brief reconsideration of the ideas of culture and acculturation; of what it meant to be, become, or behave like a Greek or Phoenician; and of modern scholars ability to define their boundaries and interactions from the available evidence. The discussion will avoid the idea that Greek cultural imperialism was inevitable.

The Art of Contact is written with a classical audience in mind, particularly for those interested in GreekNear Eastern contact studies, art history, and historical methods. Its premise is straightforward: the methods we use to study ancient history shape our perceptions of it; art histories of the first millennium BCE Mediterranean Yet I neither call for an end to positivism nor espouse a new, overarching theoretical model. Rather, Art of Contact takes a long but selective view of Greek and Phoenician art and artistic interaction, and a holistic view of their modern study, in order to advocate for greater awareness of the relationship between theory and the writing of ancient (art) history.

It should be clear, I hope, that I am not following longue dure approaches that deemphasize events over long-term processes. Rather I am trying to use a handful of works of art (events) over a reasonably long stretch of time to critique still-popular dichotomies, evaluate terminology, and destabilize ideas about fixed long-term processes. Geographically and chronologically diverse case studies are preferred to the sustained study of a particular time, place, or class of objects, because the problems of interpretation I wish to address are, I believe, pervasive. A comprehensive study would not suit. Of course it would be idle to deny that the decisions I have made are personally intriguing. I work in the eastern Mediterranean and so have favored the region with which I am most intimately familiar. Yet I think it is important to avoid emphasizing the Mediterranean context as a perfect route to understanding, because the idea of a single Mediterranean context, no matter how connected, is false, and the complementary notion of a Greek or Phoenician context is in itself often quite problematic. Since culture and context are always problematic in the study of Phoenicia, Phoenicia is an important idea to study, not least of all in comparison to our much more comprehensive notions about Greece.

Some of the particular objects that make up the case studies come from quite clear contexts, such as coins minted in fifth- and fourth-century Sidon and Tyre. Othersfrom Hellenistic Delos, for examplewere selected precisely because of the difficulty (often impossibility) of assigning a clear-cut cultural context to their Thus, while critical and to some extent minimalist, this book is not pessimistic about the possibility of writing Greek and Phoenician art histories.

My claim that art is a key tool in the understanding of Greek-Phoenician contact is not in itself new, and in several respects it reflects traditional priorities in the field of Greek art history, notably the theory of style. I am attempting to espouse an alternate approach to this fundamental issue, however, one that proceeds from criticism of grand narrative contact histories, and one that sees no important distinctions for historians between the terms art, craft, and material culture. Although many of the examples that follow are recognizable as art, I am not concerned here with the problem of fine arts (les beaux arts) versus minor arts or crafts, as it seems to me that we can use the term art in the sense of expressive object. It is nonetheless important to keep in mind that ancient people could and did distinguish between arts and crafts, artists and craftsmen, some being held in higher esteem.

But as James Porter and others have pointed out, all arts and crafts result from material manipulation, suggesting that, as in the contest of line drawing between Apelles and Protogenes (Pliny

Next page
Light

Font size:

Reset

Interval:

Bookmark:

Make

Similar books «The Art of Contact: Comparative Approaches to Greek and Phoenician Art»

Look at similar books to The Art of Contact: Comparative Approaches to Greek and Phoenician Art. We have selected literature similar in name and meaning in the hope of providing readers with more options to find new, interesting, not yet read works.


Reviews about «The Art of Contact: Comparative Approaches to Greek and Phoenician Art»

Discussion, reviews of the book The Art of Contact: Comparative Approaches to Greek and Phoenician Art and just readers' own opinions. Leave your comments, write what you think about the work, its meaning or the main characters. Specify what exactly you liked and what you didn't like, and why you think so.