Browsing by Subject "Roman"

This dissertation demonstrates that the development of monumental public architecture occurred contemporaneously in urban centers of both Latium and Etruria in the late 6th century BC and argues that its catalyst was a profound shift in socio-political organization that took place throughout Central Italy. It analyses these developments through a lens of spatial theory, especially that of environment behavior studies, to understand how they impacted urban societies of Central Italy. The link between the construction of novel public structures in the Roman Forum and the political upheaval of the late 6th century BC has been well established in previous scholarship. New architectural forms lent shape to the Forum, providing the built environment of Rome with an explicitly public space reflective of its new Republican organization. Yet it was not an isolated phenomenon. It can be detected in the urban form of several contemporaneous Latin and Etruscan cities. While the historical record of these cities is far less robust than that of Rome, their archaeological record supports the conclusion that a similar political shift transpired across the larger region of Central Italy during the late 6th and early 5th centuries. In addition to Rome, cities such as Satricum, Caere, and Vulci constructed monumental tripartite temples, public squares, and assembly halls for the first time. These structures appear as a linked assembly and are innovative in their architectural form, but more importantly in their conceptual configuration as explicitly public structures. They not only facilitated the habitual behaviors of the offices of state and citizen bodies that were gradually introduced during this period but also symbolically represented the authority of the state itself. Previously, the regiae and domestic courtyard complexes of local rulers had served as loci for both private and public activity in early archaic cities. The newfound spatial delineation between public and private is reflective of the elaboration of state level organization that saw individual identity and political authority formally separated through the institution of official offices.

This dissertation investigates ancient language ideologies constructed by Greek and Latin writers of the second and third centuries CE, a loosely-connected movement now generally referred to the Second Sophistic. It focuses on Lucian of Samosata, a Syrian “barbarian” writer of satire and parody in Greek, and especially on his works that engage with language-oriented topics of contemporary relevance to his era. The term “language ideologies”, as it is used in studies of sociolinguistics, refers to beliefs and practices about language as they function within the social context of a particular culture or set of cultures; prescriptive grammar, for example, is a broad and rather common example. The surge in Greek (and some Latin) literary output in the Second Sophistic led many writers, with Lucian an especially noteworthy example, to express a variety of ideologies regarding the form and use of language. A number of authors, including Lucian, practiced Atticism, the belief that the best literature wouldn be made possible by reviving the Attic dialect of Classical Athens, language of Plato and Aristophanes. Others, however, disagree with the narrow and perhaps pretentious version of Greek this ideology produced; intriguingly Lucian was a member of this group as well. This study examines Lucian’s complex and contradictory attitudes towards linguistic practices, focusing the works of his that address Atticism and other linguistic topics—such as the degree to which mastery of a language and its culture will allow one to identify with that culture. Here, too, Lucian portrays the relationship between linguistic practice and cultural identity in several different ways. Investigations into the linguistic views of other authors of the period help answer the question of which contemporary ideologies Lucian may be drawing on for his satire. The dissertation concludes that the detailed, specific humor of Lucian’s linguistic satire is tied into his overall project of creating a distinctive ethnic, cultural, and linguistic position for the self-representation of his disparate personae.

This dissertation presents a study of the Aphrodite Anadyomene type in its cultural and physical contexts. Like many other naked Aphrodites, the Anadyomene was not posed to conceal the body, but with arms raised, naked and unashamed, exposing the goddess' body to the gaze. Depictions of the Aphrodite Anadyomene present the female body as an object to be desired. The Anadyomene offers none of the complicated games of peek-a-boo which pudica Venuses play by shielding their bodies from view. Instead, the goddess offers her body to the viewer's gaze and there is no doubt that we, as viewers, are meant to look, and that our looking should produce desire. As a type, the Anadyomene glorifies the process of the feminine toilette and adornment and as the goddess stands, naked and unashamed, she presents an achievable ideal for the female viewer.

The roots of the iconography of the Anaydyomene can be found in archaic Greek texts such as Hesiod's Theogony and Homeric Hymn from the eighth century B.C.E, as well as in paintings of women bathing on red figure vases from the fifth century B.C.E. The Anadyomene type provides a helpful case study to consider the ways that representations of Aphrodite were utilized. Consulting archaeological reports and detailed studies of display contexts make it possible to reconstruct and imagine the original settings for these kinds of works. The known findspots for representations of the Anadyomene can be grouped into four contexts: Graves, Sanctuaries, Baths and Fountains, and Houses. Small objects might have been seen, handled, and used daily that carried connotations and meanings which these ancient viewers would have brought to other more elite or public works.