Thomas H Carpenter
Datos Biográficos
| ID | 1168028 |
|---|---|
| NOMBRE | Thomas H Carpenter |
| NOMBRES | Thomas H |
| APELLIDO | Carpenter |
| FIRMA | CARPENTER T H |
| VERIFICADO | No |
| TOTAL DE OBRAS | 29 |
| TOTAL DE CITAS | 35 |
| TOTAL COMO AUTOR | 18 |
| TOTAL COMO EDITOR | 11 |
| PRIMER AÑO DE PUBLICACIÓN | 1987 |
| AÑO MÁS RECIENTE DE PUBLICACIÓN | 2019 |
| ÍNDICE H | 2 |
Dionysian and Orphic Eschatology
Dionysus as Destroyer of the Household
On the Beardless Dionysus
On the Wildness of Satyrs
Fufluns Pacha
Staging Dionysus between Thebes and Athens
The Asexuality of Dionysus
Dionysus Poured Out
Bacchic Teletai in the Hellenistic Age
Voices from beyond the Grave
The Trojan War in early Greek art
Images demonstrate unequivocally that by the middle of the seventh century BC the outline of the Trojan War, from the judgment of Paris to the Trojan horse and the sack of Troy, was known in many parts of the Greek world and beyond. Many episodes from that tradition appear on a variety of objects from the seventh century and early sixth century BC, mainly from the Peloponnese and the Aegean islands, while Athenian artisans seem to have had little…
Dionysos and the Blessed on Apulian Red-Figured Vases
Satyr Drama
Greek Vases in New Contexts
Thracian Narratives
Elements of Thracian dress appear during the first half of the fifth century in a distinct group of narrative scenes about Dionysos including the Gigantomachy, the Return of Hephaistos, the madness of Dionysos and the encounter with Lykourgos. Before the middle of that century those Thracian elements seldom appear in other Dionysian scenes, which suggests that they should be understood as visual links connecting the episodes. Through the imagery,…
Dedication
Worship?
Where in the previous chapter I suggested that the female companions of Dionysos on Attic vases would have been understood by Athenians as nymphs rather than as maenads, here I tum to some scenes said to show mortals (presumably Athenians) participating in worship of Dionysos, scenes which raise important questions about the value vase paintings can have as evidence for Attic worship of any sort. I start with a depiction of orgiastic worship on a…
Dionysian Women
In most depictions of Dionysos mainomenos and in many depictions of the Return of Hephaistos, women accompany the god. In the preceding pages I have used the term ‘nymph’ rather than the more common ‘maenad’ when discussing these women, and this distinction is more than a matter of conventions. The term ‘maenad’, which on the most basic level simply means ‘madwoman’, is used in fifth-century literature principally for mortals. The term ‘nymph’, o…
Abbreviations
The Gigantomachy
The Parthenon on the Acropolis in Athens, more than any other monument, embodies the meaning of the word ‘classical’, and as such, its sculpture is an appropriate place to begin a consideration of Dionysian imagery in fifth-century Athens. Images of Dionysos appeared three times on the east end of the building above the entrance to the cella that housed the chryselephantine statue of Athena Parthenos. He may also have appeared in the Gigantomachy…
Beards
Most of the surviving narratives about Dionysos (written or visual) tell of events that took place during his childhood or youth, but prior to the middle of the fifth century the Dionysos who appeared in Greek art was almost always a bearded adult, even when he was shown in episodes that must have taken place during his youth. Then, in the 430s Pheidias put a beardless Dionysos in the east pediment of the Parthenon and probably in the east frieze…
Bacchae and Frogs
After vase painting, Euripides’ Bacchae is the richest source of Dionysian imagery to survive from fifth-century Athens. When the play was pro duced, Dionysian narratives had already appeared on Attic vases for more than a century and a half, and the death of Pentheus itself had appeared on them for nearly a century. Presumably an Athenian attending the performance would have been familiar with other images connected with the god and might also h…
Conclusion
For fifth-century Athenians the name Dionysos would have had a multitude of associations coming from many sources: from poetry, the theatre, traditional tales, vases, sculpture, monumental painting, and cult to name a few of the more tangible ones. The incarnate Dionysos who appears in images usually has a human form, and extant evidence (literary and archaeological) allows the conclusion that some Athenians might have recognized three broad cate…
Sources
The body of visual evidence available for a study of Dionysos in fifth century Athens is much richer than the contemporary textual sources; it has the added advantages of being quite datable and of not suffering corruptions at the hands of careless copyists. The god himself appears on more than 900 surviving fifth-century Attic vases, something over 3.5 per cent of the known total, which is more than any other god; he figures prominently in the s…
Title Pages
Dionysian Imagery in Fifth-Century Athens
Dionysian Imagery in Fifth-Century Athens is a response to the question, `What can surviving visual sources reveal about fifth-century Attic perceptions of Dionysos?' In this sequel to his book Dionysian Imagery in Archaic Greek Art (1986), Thomas Carpenter defines a methodology for using ancient Greek imagery as evidence for cultural and religious activity based on an empirical rather than theoretical approach. Red-figure vases provide the riche…
Masks of Dionysus
The most complex of all the Greek gods—master of madness and intoxication, phallic deity, urbane inventor of wine and of the symposium, patron of Athenian music and drama, merciless hunter, comforter of the dying—the figure of Dionysus has fascinated artists, philosophers, and poets for over two thousand years. Numbering among its contributors an international group of scholars, including philologists, historians of religion, epigraphers, art his…
Dionysian Imagery in Archaic Greek Art
This study examines the development of Dionysian imagery in Greek vase painting from the first appearance of the god on an Attic vase c. 580 BC to the point at which red figure overtook black figure as the dominant style of vase painting in Attica c. 520 BC
Beazley Addenda
Masks of Dionysus
The most complex of all the Greek gods—master of madness and intoxication, phallic deity, urbane inventor of wine and of the symposium, patron of Athenian music and drama, merciless hunter, comforter of the dying—the figure of Dionysus has fascinated artists, philosophers, and poets for over two thousand years. Numbering among its contributors an international group of scholars, including philologists, historians of religion, epigraphers, art his…
Thracian Narratives
Elements of Thracian dress appear during the first half of the fifth century in a distinct group of narrative scenes about Dionysos including the Gigantomachy, the Return of Hephaistos, the madness of Dionysos and the encounter with Lykourgos. Before the middle of that century those Thracian elements seldom appear in other Dionysian scenes, which suggests that they should be understood as visual links connecting the episodes. Through the imagery,…
Dedication
Worship?
Where in the previous chapter I suggested that the female companions of Dionysos on Attic vases would have been understood by Athenians as nymphs rather than as maenads, here I tum to some scenes said to show mortals (presumably Athenians) participating in worship of Dionysos, scenes which raise important questions about the value vase paintings can have as evidence for Attic worship of any sort. I start with a depiction of orgiastic worship on a…
Dionysian Women
In most depictions of Dionysos mainomenos and in many depictions of the Return of Hephaistos, women accompany the god. In the preceding pages I have used the term ‘nymph’ rather than the more common ‘maenad’ when discussing these women, and this distinction is more than a matter of conventions. The term ‘maenad’, which on the most basic level simply means ‘madwoman’, is used in fifth-century literature principally for mortals. The term ‘nymph’, o…
Abbreviations
The Gigantomachy
The Parthenon on the Acropolis in Athens, more than any other monument, embodies the meaning of the word ‘classical’, and as such, its sculpture is an appropriate place to begin a consideration of Dionysian imagery in fifth-century Athens. Images of Dionysos appeared three times on the east end of the building above the entrance to the cella that housed the chryselephantine statue of Athena Parthenos. He may also have appeared in the Gigantomachy…
Beards
Most of the surviving narratives about Dionysos (written or visual) tell of events that took place during his childhood or youth, but prior to the middle of the fifth century the Dionysos who appeared in Greek art was almost always a bearded adult, even when he was shown in episodes that must have taken place during his youth. Then, in the 430s Pheidias put a beardless Dionysos in the east pediment of the Parthenon and probably in the east frieze…
Bacchae and Frogs
After vase painting, Euripides’ Bacchae is the richest source of Dionysian imagery to survive from fifth-century Athens. When the play was pro duced, Dionysian narratives had already appeared on Attic vases for more than a century and a half, and the death of Pentheus itself had appeared on them for nearly a century. Presumably an Athenian attending the performance would have been familiar with other images connected with the god and might also h…
Conclusion
For fifth-century Athenians the name Dionysos would have had a multitude of associations coming from many sources: from poetry, the theatre, traditional tales, vases, sculpture, monumental painting, and cult to name a few of the more tangible ones. The incarnate Dionysos who appears in images usually has a human form, and extant evidence (literary and archaeological) allows the conclusion that some Athenians might have recognized three broad cate…
Sources
The body of visual evidence available for a study of Dionysos in fifth century Athens is much richer than the contemporary textual sources; it has the added advantages of being quite datable and of not suffering corruptions at the hands of careless copyists. The god himself appears on more than 900 surviving fifth-century Attic vases, something over 3.5 per cent of the known total, which is more than any other god; he figures prominently in the s…
Title Pages
Dionysian Imagery in Fifth-Century Athens
Dionysian Imagery in Fifth-Century Athens is a response to the question, `What can surviving visual sources reveal about fifth-century Attic perceptions of Dionysos?' In this sequel to his book Dionysian Imagery in Archaic Greek Art (1986), Thomas Carpenter defines a methodology for using ancient Greek imagery as evidence for cultural and religious activity based on an empirical rather than theoretical approach. Red-figure vases provide the riche…
Greek Vases in New Contexts
Satyr Drama
Dionysos and the Blessed on Apulian Red-Figured Vases
The Trojan War in early Greek art
Images demonstrate unequivocally that by the middle of the seventh century BC the outline of the Trojan War, from the judgment of Paris to the Trojan horse and the sack of Troy, was known in many parts of the Greek world and beyond. Many episodes from that tradition appear on a variety of objects from the seventh century and early sixth century BC, mainly from the Peloponnese and the Aegean islands, while Athenian artisans seem to have had little…
Dionysian and Orphic Eschatology
Dionysus as Destroyer of the Household
On the Beardless Dionysus
On the Wildness of Satyrs
Fufluns Pacha
Staging Dionysus between Thebes and Athens
Art (23 obras) · Classical Antiquity Studies (22 obras) · History (19 obras) · Ancient history (14 obras) · Ancient Mediterranean Archaeology and History (11 obras) · Literature (11 obras) · Historical, Religious, and Philosophical Studies (9 obras) · Art history (6 obras) · Painting (6 obras) · Visual arts (6 obras)