By Nathan T. Arrington
Ashes, pictures, and stories argues that the establishment of public burial for the struggle useless and photographs of the deceased in civic and sacred areas essentially replaced how humans conceived of army casualties in fifth-century Athens. In a interval characterised through conflict and the specter of civil strife, the nascent democracy claimed the fallen for town and venerated them with rituals and pictures that formed a civic ideology of fight and self-sacrifice on behalf of a unified neighborhood. whereas so much reports of Athenian public burial have curious about discrete elements of the establishment, reminiscent of the funeral oration, this e-book broadens the scope. It examines the presence of the struggle useless in cemeteries, civic and sacred areas, the house, and the brain, and underscores the function of fabric culture--from casualty lists to white-ground lekythoi--in mediating that presence. This process finds that public rites and monuments formed thoughts of the warfare lifeless on the collective and person degrees, spurring inner most commemorations that either engaged with and critiqued the hot beliefs and the citys claims to the physique of the warrior. confronted with a collective idea of «the fallen,» households asserted the traits, virtues, and kinfolk hyperlinks of the person deceased, and sought to recuperate possibilities for personal commemoration and private remembrance. Contestation over the presence and reminiscence of the useless usually classification strains, with the elite claiming carrier and management to the group whereas even as reviving Archaic and aristocratic commemorative discourses. even if Classical Greek artwork has a tendency to be considered as a monolithic if evolving complete, this e-book depicts a fragmented and charged visible international.
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Additional info for Ashes, Images, and Memories: The Presence of the War Dead in Fifth-Century Athens
Xen. An. 9. They were able to gather some of the dead who lay on the road. Men. Aspis 69–72. 14. Thuc. 2. Aisch. Pers. 274–277: ὀτοτοτοῖ, φίλων / ἁλίδονα σώματα πολυβαφῆ / κατθανόντα λέγεις φέρεσθαι / πλαγκταῖς ἐν διπλάκεσσιν. Aisch. Pers. 418–420. 17. Hdt. 1. 18. Thuc. 4. 22 Indeed, during the Persian War of the early fifth century, the Athenians encountered a new opponent who presented a new appearance not only in life but also in death. 23 Clothes, hair, and weapons were unfamiliar to the mainland Greeks.
Separated only by thin sheets of metal armor, warriors confronted each other face-to-face, seeking with their weapons the unprotected regions of their opponents’ bodies. Fueling an interest in military feats, epic poetry celebrated the heroic actions of the distant past and reveled in the brutality of battle. The lines of Homer’s Iliad drip with gore, as brains ooze from skulls, entrails spill onto the ground, and eyeballs parade on spear points. Archaic vase paintings further contributed to a popular heroization of warfare, illustrating scenes of martial prowess.
His family buried him at Phoinikia near Anavysos in Attica, seventeen miles as the crow flies to Athens. 40 The Athenian’s funeral monument lived up to his name, shared with the famously wealthy Lydian king. Powerfully modeled, gloriously naked, perfectly proportioned, long hair elegantly coiffed, the statue commemorated this deceased Athenian with an elitist and individualizing visual rhetoric. Few could afford a marble statue, few could commission a statue crafted with such skill, and none would forget that this was Kroisos who died in battle.
Ashes, Images, and Memories: The Presence of the War Dead in Fifth-Century Athens by Nathan T. Arrington