By Ellen D. Reeder
Spotlighting extraordinary examples of classical Greek artwork including fresh findings in anthropology, social historical past, psychology, classics, and classical archaeology, Pandora deals a multi-faceted examine girls in fantasy, ritual, and way of life in classical Greece. during this catalogue, which used to be written to accompany a world touring exhibition geared up by way of the Walters artwork Gallery, Ellen Reeder turns to classical Greek marbles, bronzes, terracottas, and vases to assist illustrate the ways that girls have been perceived and the way they lived. The dialogue is more advantageous via interpretive essays written for this catalogue by means of a gaggle of eminent classicists and historians. Reeder unearths a specific emphasis on myths facing the single maiden and the trouble of the transition to marriage and motherhood--as exemplified within the tales of Danae, Thetis, Atalanta, and Amymone. She additionally explores photographs of boxes and untamed animals as metaphors for girls; rituals concerning girls, reminiscent of the marriage and the cult of the Little Bears at Brauron; the nature and cult of goddesses; and the shut organization of girls with textiles. comprises interpretive essays by means of Sally Humphreys, Mary Lefkowitz, Franois Lissarrague, John Oakley, Margot Schmidt, H. A. Shapiro, Christiane Sourvinou- Inwood, Andrew Stewart, and Froma Zeitlin. The examples of paintings are drawn from greater than fifty collections in fourteen nations and have either general masterpieces and formerly inaccessible works.
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Extra resources for Pandora: Women in Classical Greece
111, 113, and 116); most of the stories are set in the distant past; the Athenians did not invent them; several ended with the victim's acquiescence; they directly conflict with the Athenian code of self-restraint; they show gods chasing women almost as frequently as mortals do, and chasing boys more often; among the immortals, the most frequent offender is a female, Eos; and the most determined mortal perpetrators, the drunken Centaurs and insatiable Satyrs (figs. 9-10), are figures whom one is definitely not supposed to emulate.
A57-Aa 1923; Oakley (1990a) pl. 24£. For wreaths in general, see Blcch (1982). 1'or wreaths in weddings, see ibid. 355 n. 103a; sec ibid. 453 for wreaths in ~ccnesofthc Judgment of Paris. On another level the wreath can allude to victOr)' in the contest. 18. Berlin, Staatlichc M~>en zu Berlin Preussischcr Kulturbesit1, inv. no. 1 and 1689; Perm 473; Add' 358; LIMCJ (1981) pl. 384,Aiexandros 46. 19. Boston, Museum of Fine Arts. inv. no. 95. 30and 16-18 for the motif and bridal sandals. 73 RAPE?
At one point in the Iliad, Zeus rather tactlessly courts Hera by contrasting his present feelings for her with all he has felt for others in the past: Hera, ... never before has love for any goddess or woman so melted about the heart inside me, broken it into submission, as now: not at the time when I loved the wife oflxion who bore me Peirithoos, equal of the gods in council, nor when I loved Akrisios' daughter, sweet-stepping Danae, who bore Perseus to me, pre-eminent among all men, nor when I loved the daughter of far-renowned Phoenix, Europa, who bore Minos to me and Rhadamanthys the godlike; nor when I loved Semele, or Alkmene in Thebe, while Semele's son was Dionysos, the pleasure of mortals, nor when I loved the queen Demeter of the lovely tresses, nor when it was glorious Leto, nor yourself, so much as now I love you, and the sweet passion has taken hold of me.
Pandora: Women in Classical Greece by Ellen D. Reeder