Modern Day Demoiselles

I found this poster for the New York City Ballet in Lincoln Center, and oddly enough it reminded me of Picasso’s Demoiselles D’Avignon. First, like most modern paintings we’ve looked at, it comes across as very flat, hence upending conventions. In Picasso’s painting of the women, this post shows them in in a non-conventional form, with long, thig legs and tiny waists. In Demoiselles D’Avignon, the women have tiny waists and very sharp bodies. The women look like your typical women drawn for fashion sketches. Both Picasso and the artist of this poster are laying with different ways of depicting human bodies. Like Picasso’s painting, the women are the center of the painting. Most importantly, like the Demoiselles D’Avignon, this poster seeks to create a new visual language to represent modern culture. The poster itself talks about the collaboration of dance, music, and fashion, hence stringing those things together into a new modern form of depiction.

Camille, Team Diana

 

How to Confront Your Brother

Advice Column: Galanes, Philip. Trump won. Still Moving to Canada?. The New York Times. Nov. 24th, 2016. https://www.nytimes.com/2016/11/24/fashion/social-qs-donald-trump-moving-to-canada-thanksgiving-dinner-clashes.html?rref=collection%2Fcolumn%2f Social-qs action=click&contentCollection=style&region=stream&module=stream_unit&version=latest&contentPlacement=50&pgtype=collection

Dear Diana,

Your brother seems to think your absurd and in your threats of moving to Canada, especially since you didn’t follow through. Contrary to what Galanes has said, I believe you have every right to confront your brother in any means necessary to make him understand your point in the need for moving to another country. Although you haven’t followed through, it’s still important to make it clear to him you had every good intention. Let him know that “there is no doubt that the only path to a peaceful life lies through goodness” (Juvenal, 114-132), which includes ridding yourself of living a life in a country run by someone who thinks only a select few should inhabit it. Also, don’t be afraid to be shameful of not being able to physically move to Canada, as it is not an easy thing to do. Lastly, keep your deep hatred for the new president fueling every conversation you have with your brother about your plans, because, after all, “women is most savage when her hatred is goaded by a sense of shame” (Juvenal, 114-132).

M. Camilla Diano (Camille, Team Diana)

 

Royal Blood

 

“King Tarquinius Priscus admitted Octavian’s, among other plebeian families, to the Roman Senate, and though Servius tullius awarded them patrician privileges, they later reverted to plebeian rank until eventually Julius Caesar made them patricians once more.” (Suetonius, page 9)

“One was the number of those who were privy to the plot, although Caesar would not receive any information about anything of that sort and punished very severely those who brought news of any kind” (Cassius Dio, page 5)

I chose these two quotes to characterize Julius Caesar. The first quote depicts Caesar as being someone with respect to familial ranks in society, and make him seem “nice.” Like Professor Yarrow discussed in class, a reason for Caesar’s murder might have been because he felt the need to be nice to all parties, seen through him wanting to give back family’s ranks that had been taken from them. The second quote paints Caesar as someone who doesn’t want to hear bad news. He doesn’t want to be told of any revolts or plots, and insists that no one tell him of any news at all. This also shows that he might come across as being too nice, for he just wants to live in a happy, violence free world. I chose these quotes because they show through Caesar’s actions his personality. One way these quotes are similar is that they are very vague, yet you get a direct sense of who people thought Caesar was.

My dog’s name is Julia Blu. The name Julia derives from Julius, and was the name of all the females in Caesar’s lineage. My mom named her this because she felt Julia seemed like a royal name, and my dog is a purebred German Shepard, so it’s almost like she has royal blood. Although it doesn’t really directly connect to Caesar, it shows that his family name comes across as being very royal, especially because all of his family had this one family name.

 

Camille, Team Diana

“A Change in Culture Comes a Change in Form”

This is a still from a film (“The Glass Castle”) recently and while watching I realized that movies today have influences of the use of chiaroscuro lighting. There are so many movies out there that have scenes that are darkly lit, except for the faces of the actors, with the light source often not shown or put there without it being obvious where it is coming from. When looking at a painting, like The Calling of Saint Matthew, the intent of the lighting was to to dramatise the moment and infect emotion in the viewer, and in films these days lighting is very important so setting the mood of the viewer. Obviously when the height of the chiaroscuro lighting technique was popular television and film wasn’t invented, but you can tell from moves today, which are far more watched than paintings are viewed, that that technique if dramaticism is still used, just with lighting and cameras instead of paints. This is the perfect example of Professor Simon’s “a change in culture comes a change in form,” for as we’ve become more technologically advanced, movies became a big part of our culture, yet it seems like we still have kept important artistic elements in history.

Michelangelo’s Renaissance Naturalism

I saw this bronze statue, the Eros sleeping, in the Michelangelo exhibit at the Met. I feel like it is a perfect companion piece to Donatello’s David. We discussed in class about how David had classical elements like being nude, and being positioned in a sensual pose, even though he was depicted as a young boy. In this case, Michelangelo is depicting the God Eros as a really young boy, almost a baby, but he is lying in a sensual pose. Also, the Renaissance age included the rise of naturalism. in this hollow bronze statue, the bronze is sculpted so that Eros’ flesh looks very life like and soft. The bronze is also utilized in different textures, from his curly hair, to his soft skin, to his feathers. Although both Donatello and Michelangelo made statues of David, Michelangelo’s Eros sleeping is way more like Donatello’s David.

Camille, Team Diana

A French Gracci

I read “The Redemption of the Gracchi and the Class Nature of the Republic” by Al Alp, which I found through the search terms “Gracci France.” The author, Alp, mainly compared and contrasted an essay written by Herbert Marcuse about Gracchus Babeuf, and Babeuf’s words himself, so I think the article is primarily intended to be read by scholars of history, or people who already have prior knowledge of the time period and who Barbeuf was. My search terms, Gracci and France, go hand and hand in this article. Gracci is another name for Gracchus Babeuf, and the article focuses on his supposed attempt to overthrow the French government. The author talks a lot about Marcuse’s point of view using those two search terms (like how for Marcuse, “the Great French Revolution was to be devoid of working class struggle and only preparatory to a bourgeois stage of history,” which he belives is Barbeuf’s fault).

In our Roman readings we read fragments from Polybius, where he talked about how the world had changed government-wise, and how a monarchy in present day Greece (which would be around 168 BCE) was much different than a monarchy in Ancient Greece. In Alp’s article, he discussed how Marcuse showed “a remarkable ignorance of history. The mass media of XVIII century France was quite different from that of the late XIX century. Advertising in Babeuf’s day was inexistent,” which is why Barbeuf couldn’t have been a propagandist on the level Marcuse accuses him to be. In Polybius’ text, he writes that there is a “cycle of political revolution, the course appointed by nature in which constitutions change, disappear, and finally return to the point from which they started.” Both Alp and Polybius stress the importance of the time period in which something happens, for it all amounts to generational differences.

Proper MLA citation: Alp, Al. “The Redemption of the Gracchi and the Class Nature of the Republic.” Journal of Contemporary Asia, vol. 25, no. 3, 1995, pp. 397–413.

Camille, Team Diana

Respecting and Remembering the Old

I found this plaque and this school depicting Our Lady of Mt. Carmel in Williamsburg. The plaque marks where the church to Mt. Carmel once stood, and the school is dedicated to the figure as well. The cross directly stands on top of a corinthian capital, which I felt directly correlates to how the rise of Christian art shadowed over Greek architecture. The corinthian column has always been seen as a staple of Greek architecture, and as Christianity rose, the column then was used in new Christian churches and basilicas. In class we talked about spolia, which is the taking of pagan structures to be repurposed in Christian churches, which I feel is exactly what this school did when it built that cross on top of the corinthian capital. It was making it clear that it was a Christian stucture, but it still respects and remembers the old. Also, I felt it was interesting that the plaque was placed there to commemorate this church that once stood, but was taken down to build the BQE. Like many churches and basilicas we learned about, like the Santa Sabina and Hagia Sophia, this one had to be adapted to fit changing times. Although it didn’t go through different emperors and religious movements like those churches I mentioned, it still is an example of the importance of a church, seen as it was given a plaque to commemorate it existing.

Camille, Team Diana

Fasces

This Fasces was found on the 100 Broadway building. The eagle, which is a simple of power for the U.S., signifies high importance and authority, especially placed over a sword.

Camille, Team Diana

Books on Theocritus

Team Members in Attendance:

Camille: Team Leader

Anora: Speaker / Delegate

Maariz

Daniel: Recorder

 

Camille read “Theocritus and the archeology of Greek Poetry”, pgs 110-123

Anora read “The Idylls, Epigrams, and Epitaphs”, pgs 36-48

Daniel read “Moschus Bion”, pgs 209-219

 

Most relevant book: Theocritus and the archeology of Greek poetry

Books found via bibliography:

• Hellenistic Poetry by G. O. Hutchinson

Can be found in Brooklyn College library!

• Reflections of Women in Antiquity by P. Foley

Can be found in Brooklyn College library!

• Art in the Hellenistic Age by J.J. Pollitt

Can be found in Brooklyn College library!

Team Diana Midterm Bonus

We (Camille, Anora, Joyce, Daniel, and John) met in the library on October 10th!

 

Who is the Real Alexander the Great?

Sean Kirby (46, father, living room of house in East Dover, Vermont)

Do you know who Alexander the Great was? Yep, of course.

What do you know about him?  He was the leader of the Ottoman Empire, he had that great war with the Greeks.

Where did you learn about him? Probably when I had to study Homer in high school, or maybe 8th grade.

 

Maureen Krebs (68, grandmother, over the phone)

Do you know who Alexander the Great was? Yeah.

What do you know about him?  Well whatever I know about him I think I’ve forgotten! I know he became King of Greece after his father passed away and he was a great commander. By the age of 30 he had conquered most of Asia and Africa, which is why he is known as one of the greatest commanders of all time.

Where did you learn about him? When I was in high school, but that was centuries ago.

 

Idalia Gonzalez (18, friend, in her house in Wilmington, Delaware)

Do you know who Alexander the Great was? Yeah, I do.

What do you know about him?  I know he created the catapult in like Rome or something.

Where did you learn about him? In my Physics class last year we learned about capitulates, and spent like an entire day talking about Alexander the Great.

 

From the answers I received,  it seems like people who know who Alexander the Great was know he was in charge of a military. From building catapults, to battling the Greeks, to conquering continents, it seems everyone knows that he was an important military figure. Another commonality between the answers was that, apparently, high schools do a good job teaching about Alexander, and everyone seems to remember that he was an important Greek figure. In the text we read, Alexander Romance, it’s widely common for people to be taught and learn about Alexander has being of the utmost importance. In the text it states that, as a young boy, “it became clearly evident that… he was being taught by some divinity” and “it was clear that [every] victory was of his doing.” Most of the texts about Alexander do stress his divinity and nature knack for being a strong and talented military commander. What I found interesting is that no one mentioned anything about Egypt, which was an important part of what we read in Alexander Romance. In that reading it was very prominent that Alexander was the “reincarnation” of King Nectanebus of Egypt. Alexander even stated he wanted to spend his riches “in Alexandria, which is in Egypt, and is the capital of the whole world” (Alexander Romance). According to that text, Egypt was highly important to Alexander; some might say more so than Greece was to him (although that text might be bias, as it was written by the Egyptians!).

 

Same Structure, Different Meaning

These two pictures are of Borough Hall in Cobble Hill/ DowntownBrooklyn. The building looks almost like a complete replica of famous Greek and Roman architecture, like the Pantheon. The columns outside the building have ionic orders, and the building is in almost the exact shape as that of the Pantheon. But what I found most interesting is what the building functions as. Borough Hall is a place where important things are signed and discussed, as well as people voting on changes. Based on our readings, historians sometimes don’t know exactly what an Ancient Roman or Greek building stood for, but they always agree that they were used for matters of high importance. This is why these types of buildings are always, usually exclusively, used for government and decision-making departments. It’s extremely interesting that this style of building is now used this way, for in Ancient Greece they were places of worship; temples to gods and goddesses. Back then they were adorned with iconography of these figured, but now architects have kept the structure of the building, but left out the decorative nature of the same buildings. It’s really interesting how, although it’s basically a twin of every other major Greek building from its “stance” to its broad columns, the meaning and use of the building today sid drastically different from that of a religious building in Ancient Greece.

Camille, Team Diana

A No-Longer-Needed Term

In an article regarding the murder of a journalist in Mysore, India, the ‘Other’ appears to be people who use violence to solve issues. The article states that “you, the barbarian who only knows to wield violence, have no right to get provoked and respond the only way you know how to”  (Words vs. Swords, and Trolls). This suggests that this “barbarian” has responded in the only way they know how; through violence. The term regards those who look towards swords, instead of words to reach an agreement. In an article regarding the death of Steve Biko, violence is stamped as barbaric, no matter what the person who is doing it was labelled as before he/she became violent. The article hints that “it does not matter who the victim or perpetrator/aggressor is or the colour/pigmentation of the victim or perpetrator – violence is barbaric and should be abhorred by all of us” (No Justification For Acts of Violence In Our Country). It is noted that no matter whether you’re on the “good,” or “bad” side of an argument, once you prove to be violent you’re automatically “barbaric.” Both articles appeal to the same audiences; those appalled by horrific events and those looking for a change in tone. Both articles are preaching to chose words over violence at all times to insure a coherent compromise; a social value that is preached often, but not really followed by many.

Herodotus’ opens up his book on differentiating “the great and marvellous deeds done by Greeks and barbarians” (Herodotus). He also mentions Asia, “with all the various tribes of barbarians that inhibit it” (Herodotus). He has no reason to state who the “barbarians” are; they are just not Greek. Herodotus would probably not understand the two articles mentioned above, as they try to make an understanding of the use of the term “barbarian,” where Herodotus seems to have a clear idea of who he thinks they are; anyone that isn’t him! From reading Herodotus’ and the discussions we’ve had in class, a “barbarian” in Ancient Greece was a term used to differentiate the noble Greeks from everyone else. In the articles I read, and in daily modern life, the term is now used only in discussion of horrific, violent events. Today it is easy to not have to use the term “barbaric,” and is certainly not used to describe people we don’t understand.

“Words vs. Swords, and Trolls” LexiNexis. www-lexisnexis-com.ez-proxy.brooklyn.cuny.edu:2048/lnacui2api/results/docview/docview.do?docLinkInd=true&risb=21_T26487660355&format=GNBFI&sort=RELEVANCE&startDocNo=1&resultsUrlKey=29_T26487660359&cisb=22_T26487660358&treeMax=true&treeWidth=0&csi=345270&docNo=1

“No Justification For Acts of Violence In Our Country” LexisNexis. http://www-lexisnexis-com.ez-proxy.brooklyn.cuny.edu:2048/lnacui2api/results/docview/docview.do?docLinkInd=true&risb=21_T26487660355&format=GNBFI&sort=RELEVANCE&startDocNo=1&resultsUrlKey=29_T26487660359&cisb=22_T26487660358&treeMax=true&treeWidth=0&csi=345270&docNo=1

 

Camille, Team Diana

 

If Oedipus Lived In Suburbia

According to a NYTimes review, the “experimental Irish theatre company” (Brantley) Peter Pan has staged a show called “Oedipus Loves You,” which takes the original Greek story of Oedipus and places it in modern day suburbia. The story, told in “latter-day drag” (Brantley), opens up telling the audience that the show is meant to be shown “in an age of postmodern theory and the birth of postdramatic theatre” (Brantley), and it aims to examine “the metaphysical,political, and quasi-religious aspects of the Oedipus myth as it has been applied in recent theater history” (Brantley). We talked a lot in class about the importance of theatre to Athenian life, and how ALL theatre performed back then had a religious context. Peter Pan’s production does exactly that, but molds the well-known myth for a modern day audience. Someone going to see a original production of Oedipus in Ancient Athens would probably be going for the same reasons someone would go see Peter Pan’s re-staging of Oedipus Loves You; for commentary on political and religious issues in the safe space of an artistic sanctuary. According to Brantley, the actual production of the story is amusing in relation to the themes of the original story; the major difference being the show’s use of Sigmund Freud’s major concepts, like the Oedipus Complex, which obviously wasn’t talked about while Ancient Athenians went to see the play. As the show is shown in modern times, it has become much more of a comedic story then a drama, due to the absurdity of events in the original story. Ancient Athenians might have seen events in Oedipus as common occurrences, but Peter Pan’s production plays on the how amusing the events are, and “also considers the tenacity of the hold of that story on the Western imagination” (Brantley).

Brantley, Ben. “Oedipus Loves You.” The New York Times, The New York Times, 24 May 2008, www.nytimes.com/2008/05/24/theater/reviews/24oedi.html?mcubz=0

Camille, Team Diana

 

A Modern Interpretation

I recently took a trip to the Met and ran into this painting while there. Will the posting on the wall had nothing to do with her, the women in the painting struck as being very Aphrodite-like.  In the Song of Demodocus, after fleeing from Hephaestus, Aphrodite flees to Paphos, “where her grove and scented alter stand” (Fagles, line 406). The Graces then anointed her “with oil, ambrosial oil, the bloom clings to the gods who never die and swathed her round in gowns to stop the heart” (Fagles, lines 407-410). Aphrodite is commonly depicted as being one with flowers and being an ecstasy-like vision, just like this painting shows. She’s always seen as ethereal and one with beauty found in nature. On the other hand, this painting is very much idyllic and innocent, although Aphrodite is often also shown as a seductrice and as manipulative, which was clearly see in the Song of Demodocus. Also in the Song were many mentions of “golden” Aphrodite, and this painting does show the women as a slightly glowing; almost giving off a golden aura.

Of course, because this being a painting, there are many pieces of formal analysis you make. The subject is clear because the colors of the outer edge pop so much that the figure in the middle of the portrait is so clear, making her your main focus. The soft and organic colors and light used aid the creation of a mood given off by the scene (one that makes you think this could be Aphrodite!). This painting is obviously very different from the Greek and Roman sculptures we’ve been looking at, for it seems to be VERY modern, but it does still give a sense of a idyllic figure to be in awe at, which is often the purpose of kouroi and any Classical or Hellenistic Greek sculpture. It’s the perfect example of a modern interpretation of ancient Greek figures.

Camille, team Diana