Choose an application

• Reference Manager
• EndNote
• RefWorks (Direct export to RefWorks)

"What makes Greek tragedy Greek? The genre is one of the most important cultural legacies of the classical world, with a rich and varied history and reception, yet at first sight it appears to have its roots in a very particular place and time. The authors of the surviving works of Greek tragic drama--Aeschylus, Sophocles, and Euripides--were all from one city, Athens, and all lived in the fifth century BC; unsurprisingly, it has often been supposed that tragic drama was inherently linked in some way to fifth-century Athens and its democracy. Why then do we refer to tragedy as 'Greek', rather than 'Attic' or 'Athenian'? This volume tells the story of tragedy's development and dissemination, which is inherently one of travel as tragedy grew out of, and became part of, a common Greek culture. Although Athens was a major Panhellenic centre, by the fifth century a well-established network of festivals and patrons encompassed Greek cities and sanctuaries from Sicily to Asia Minor and from North Africa to the Black Sea. The movement of professional poets, actors, and audience members along this circuit allowed for the exchange of poetry in general and tragedy in particular, which came to be performed all over the Greek world: tragic drama was thus a Panhellenic phenomenon even from the time of the earliest performances. The stories dramatized were themselves tales of travel--the epic journeys of heroes such as Heracles, Jason, or Orestes--and the works of the tragedians not only demonstrated how the various peoples of Greece were connected through the wanderings of their ancestors, but also how these connections could be sustained by travelling poets."--

Greek drama (Tragedy) --- History and criticism --- Greek drama (Tragedy). --- Tragödie. --- History and criticism. --- Griechenland

Choose an application

• Reference Manager
• EndNote
• RefWorks (Direct export to RefWorks)

Antike. --- Mythologie. --- Mythology, Classical --- Mythology, Classical. --- Rezeption. --- mythos. --- Griechenland --- Römisches Reich.

Choose an application

• Reference Manager
• EndNote
• RefWorks (Direct export to RefWorks)

Die Goldbüste des Kaisers Septimius Severus (193–211 n. Chr.) wurde im Jahr 1965 in Didymoteicho, dem antiken Plotinopolis (Nordgriechenland) gefunden. Dieser überaus seltene Fund hochstehender Goldschmiedearbeit liegt erstmals ausführlich untersucht und bebildert vor. Es handelt sich um die eine von nur zwei erhaltenen größeren Goldbüsten römischer Kaiser; das zweite, leicht unterlebensgroße Exemplar ist die Büste von Marc Aurel aus Avenches (Schweiz). Die 28 cm hohe Goldbüste des Septimius Severus wiegt knapp drei römische Pfund (980 g) und entspricht somit einem vielfach für solche Objekte verwendeten Gewichtsmodul. Goldporträts waren dem Kaiser vorbehalten. Als portable Bildnisse konnten sie den Kaiser bei offiziellen Handlungen wie am Gericht vertreten, sie dienten aber auch im Kaiserkult sowie in der römischen Armee, wo sie an der Spitze von Standarten mitgetragen wurden. Mit Beiträgen von Alessandra Giumlia-Mair Fotos der Goldbüste des Septimius Severus von Thanos Kartsoglou

Septimius --- Gold --- Severus --- Plotinopolis --- Ikonographie --- Goldschmiede --- Römisches Reich --- Kaiser --- Punzieren --- Ritus --- Bildnisse --- Büsten --- Griechenland --- Marc Aurel --- Münzen --- Treiben

Choose an application

• Reference Manager
• EndNote
• RefWorks (Direct export to RefWorks)

Geschichte 500 v. Chr.-400 v. Chr. --- Griechenland --- (Produktform)Electronic book text --- Altertumswissenschaften --- Geschichte --- (VLB-WN)9550

Choose an application

• Reference Manager
• EndNote
• RefWorks (Direct export to RefWorks)

Griechenland --- Römisches Reich --- (Produktform)Electronic book text --- Altertum --- Ancient Emotion --- Ancient History --- Antike --- Classical World --- Classics --- (VLB-WN)9553