Abstract
This paper is on the "Emergence of Hellenistic art". It includes a brief detail of the Hellenistic period and the Hellenistic art.

Abstract
This paper will discuss a piece of Greek ceramic pottery from the Art Institute of Chicago. By analyzing its origins, the style, materials, patron, function and the social context it had within the time period, we can see the history unfold about the Greek vase in its entirety. In revealing the nature of the object to be studied, there can be a well-rounded observation of the artifact and will tell us much about the life of the Greeks from this period.

Abstract
This paper will discuss Roman and Greek roles of women in history. By learning the different aspects of their daily lives, as well as some roles that they held in their societies, we can see how they lived. By learning of these kinds of women in history, we can see how they were treated, and under what auspices they were dominated by men.

Abstract
This paper examines the ancient Greek gods and goddesses and compares the ancient view of them with the modern view.

Tags:greek, gods

Abstract
The paper describes and discusses a Greek krater. A krater is an ancient Greek vase or bowl. The paper looks at how kraters were originally used for mixing wine with water at banquets and describes its specific style. The paper introduces the geometric style Krater with an example in the Metropolitan Museum of Art in New York. It also analyzes how the geometric style evolved and the issues with dating these works.

From the Paper
"A krater is a Greek vase or bowl. It has a wide mouth, handles on either side, and a foot on which it stands. These bowls were used to mix wine with water at banquets in ancient Greece. These vases are often adorned with scenes from Greek mythology or scenes of banquets like the one at which the krater would be used. Many of the kraters found in Greece reflect what is called the geometric style, an example of which is the Terracotta Krater, ca. 750-735 B.C., found today in the Metropolitan Museum of Art in New York. The geometric style this krater represents is an early form that evolved into more advanced forms of Greek vase painting, and dating such works can be an issue because the geometric style often persisted beyond its early date and so co-existed with more advanced styles."

Tags:greek, krater, vase

Abstract
This paper discusses the ancient Greek city-states of Athens and Sparta in terms of their respective origins, political structures, and societies. The basic similarities and differences between them are analyzed, and conclusions are drawn from the facts ascertained.

Abstract
This paper examines several of the many treasuries found at the sites of Olympia and Delphi. The deeper meaning of these structures is explored, including the motives behind their construction.

From the Paper
"During the eighth century B.C., conditions in Greece contributed to a sense of Panhellenism among the various poleis. There was a general increase in cultural unity, a phenomenon which corresponds to more intense contact with the Eastern world. Such contact would have made obvious the differences between Greek and non-Hellenic cultures. At this time, there was a rise in religious sanctuaries and festivals which, rather than being local, included all Greeks. Two of the most famous Panhellenic sanctuaries were of Zeus at Olympia and Apollo at Delphi. Festivals which were sometimes held at these sites served to enhance the individual poleis by competing against each other in various contests."

Tags:apollo, delphi, olympia, panhellenism, zeus

Abstract
The Parthenon (447-32 BCE) was a crowning glory of Athenian civilization of the classical era and, what is more important, it was intended as such at the time. Thus, nearly 2,500 years later, it is possible to view the building as incorporating all of what the Athenians saw as beautiful, sacred and of civic importance in architecture. The paper shows that as its overwhelming position and the nature of its sculptural decoration make clear, it was the focal point of the religious-civic identity of the Athenian polis. The paper describes how the Parthenon housed the great statue of Athena Parthenos, was the main building in the complex of temples dedicated to the gods on the sacred rock of the Acropolis, depicted some version of the most important Athenian religious ceremony (the Panathenaic procession and festival) and loomed over the city as a reminder and a promise of Athenian greatness.

From the Paper
"But there was also a contradiction in being expected to achieve the perfection of the Doric order on a much larger scale, for which adjustments had to be made to the greater number of columns. As Boardman points out, however, the wider facades lent the building a "reassuring breadth which is enhanced by the way its proportions then seem to match those" of the Acropolis on which it stands (112). But this breadth might have been oppressive in its effects if the architects had not devised a means of avoiding too great a visual equivalence between the rock and the temple. Their solution was a very subtle curvature of the stylobate, and the rest of the floor, which is also reflected in the entablature. This also affects the columns which "lean slightly in while the upperworks [that they support] lean slightly out" (Boardman 112). This gives the entire facade a "pyramiding movement" to which all the external lines contribute; ever so subtly, therefore, the columns' inward inclination lends itself to a slight triangular effect that is enhanced by the surmounting pyramid of the pediment (Martin 292)."

Tags:Piraeus, Phidias, Iktinos, Kallikrates

Abstract
Ancient civilizations have had a diverse history in respect to homosexuality. Two of the most dominant civilizations of the early Western civilizations were also quite different in how they perceived homosexuality. The Greeks saw a loving, often sexual, relationship between an older man and a younger man or boy to be a nurturing part of citizen-building. The Romans, however, perceived all sex and all male behavior as an opportunity for establishing domination over others. While both cultures accepted homosexuality to differing degrees and for different reasons, it was during the course of the Roman Empire that homosexuality became more frequently unacceptable in an increasing number of contexts. It is the purpose of this paper to examine the differences between Greek and Roman homosexuality.

Abstract
This paper discusses the emergence of figural representation in Greek funerary pottery of the geometric period in a tradition which previously had none. The writer provides the historical and cultural background for the subject and explains the reason why this period is known as geometric. One of the earliest examples showing a figural composition, the Dipylon Amphora, and a slightly later work, the Geometric Krater, are discussed in detail. The writer explains that, although the figural representations on funerary pottery are visual windows into Greek life, belief, and culture, they do not provide sufficient information to enable archaeologists to determine how and why figural representation developed and then evolved in a Greek funerary context.

From the Paper
"By the time of the 8th century BCE, well into the Geometric period, Greek society provides numerous examples of an increasingly sophisticated social order, which included the arts. A social stratification meant that the wealthy could afford or command some truly impressive artistic works, including funerary pottery (Kleiner 101). The Geometric period is the earliest phase of "Greek" civilization, and is so named because of the abstract patterns that decorate many manufactured objects, especially pottery (Moore, 13). In the Geometric period we observe the first figural compositions since the Mycenaean palace destructions, occurring sometime around 1100 (13). Found artefacts in the Geometric are primarily funerary or dedicatory, and occur in relation to the rise of a "temple economy.""

Tags:myth, Eleusis Vase, Homeric Athenian, burial custom, bronze soldier value