Dans le mythe de fondation d’Athènes, lors de sa querelle avec le dieu Poséidon pour remporter le titre de Poliade, Athéna fait croître un olivier sur le sol rocailleux de l’Acropole tandis que Poséidon fait surgir une mer. Cet olivier qui assure la victoire ne saurait se réduire à une preuve de la puissance protectrice de la déesse. Signe d’Athéna, signe de la cité, signe d’un Athénien, il est étroitement associé à l’identité citoyenne comme à l’identité politique. Mais l’olivier apparaît (...) également comme un motif d’épisème de bouclier sur les vases attiques. Qualifié par Sophocle d’« effroi des armes ennemies », brillant et miroitant comme le bouclier de bronze, il redouble l’éclat du guerrier et propose un motif à penser en polarité avec le gorgoneion qui concourt à effrayer l’adversaire. Cette relecture iconographique de l’olivier fait ainsi apparaître que l’arbre d’Athéna oscille entre référence identitaire et rempart fascinant face aux ennemis. (shrink)

Le Socrate de Xénophon et la démocratie présente une interprétation nuancée du témoignage de Xénophon sur l’attitude de Socrate à l’endroit de la démocratie athénienne. Cette étude conteste les interprétations qui ont été trop restrictives dans le choix des témoignages et trop négatives dans leurs conclusions. Elle tient compte, d’une part, des différents paramètres qui permettent de définir la démocratie ; d’autre part, des réalités de la démocratie athénienne. Les principaux textes pertinents proviennent des Mémorables. Nous traitons de la nature (...) de cet ouvrage et de la façon dont il expose l’attitude de Socrate à l’endroit des lois et des institutions du régime démocratique, notamment l’assemblée et le tirage au sort. Cette étude présente enfin une interprétation plus nuancée de la propre attitude de Xénophon à l’endroit de la démocratie, attitude qui a elle-même influé sur la façon dont on a, par le passé, évalué l’attitude de son Socrate.Xenophon’s Socrates and Democracy offers a balanced interpretation of Xenophon’s evidence for Socrates’ attitude to the Athenian democracy, arguing against interpretations that have been too selective in their evidence and too negative in their conclusions. It takes due account of the various parameters that define democracy and the realities of Athenian democracy. The main evidence is from Memorabilia. There is discussion of nature of this work, and then of how it expresses Socrates’ attitude to the laws of the democracy and other processes such as sortition and the assembly. The paper also offers a more balanced interpretation of Xenophon’s own attitude to democracy, which has influenced past assessments of the attitude of his Socrates. (shrink)

Atalanta, devotee of Artemis and defiant of men and marriage, was a popular figure in ancient literature and art. Although scholars have thoroughly investigated the literary evidence concerning Atalanta, the material record has received less scrutiny. This article explores the written and visual evidence, primarily vase painting, of three Atalanta myths: the Calydonian boar hunt, her wrestling match with Peleus, and Atalanta's footrace, in the context of rites of passage in ancient Greece. The three myths can be read as male (...) and female rites of passage: the hunt, athletics, and a combination of prenuptial footrace and initiatory hunt. Atalanta plays both male and female initiatory roles in each myth: Atalanta is not only a girl facing marriage, but she is also a female hunter and female ephebe. She is the embodiment of ambiguity and liminality. Atalanta's status as outsider and as paradoxical female is sometimes expressed visually by her appearance as Amazon or maenad or a combination of the two. Her blending of gender roles in myth offers insight into Greek ideas of social roles, gender constructs, and male perceptions of femininity. Erotic aspects of the myths of the Calydonian boar hunt and the footrace, and possibly also her wrestling match with Peleus, emphasize Atalanta as the object of male desire. Atalanta challenges men in a man's world and therefore presents a threat, but she is erotically charged and subject to male influence and dominance. (shrink)

This paper seeks to contextualize Lycurgus' use of the historical example of King Codrus' self-sacrifice within Athenian social memory and public discourse. In doing so, it offers a solution to the puzzle of Lycurgus' calling Codrus one of the ἐπώνυμοι τῆς χώρας . I make the case that Codrus was one of the forty-two eponymous age-set heroes who played an important role in the Athenian military and socio-political system. I contend that devotion to the city's gods and heroes and knowledge (...) of their mythology were essential parts of the religious and ideological instruction of Athenian ephebes. Consequently, Lycurgus' citation of the Ephebic Oath, the self-sacrifices of King Codrus and the daughters of Erechtheus, as well as his repeated invocation of the city's gods and shrines, must be seen as integral elements of his indictment of Leocrates for cowardice and treason, behavior that is diametrically opposed to the hoplite ethos and religious devotion that were instilled into young ephebes. Lycurgus thus brings the jurors' memories of their own ephebate into the courtroom and taps into emotions and values that lie at the heart of Athenian collective identity. (shrink)

This paper explores how gender can operate as a disguise for class in an examination of the self-sacrifice of the Maiden in Euripides' Children of Herakles. In Part I, I discuss the role of human sacrifice in terms of its radical potential to transform society and the role of class struggle in Athens. In Part II, I argue that the representation of women was intimately connected with the social and political life of the polis. In a discussion of iconography, the (...) theater industry and audience I argue that female characters became one of the means by which different groups promoted partisan interests based on class and social status. In Part III, I show how the Maiden solicits the competing interests of the theater audience. After discussing the centrality (as a heroine from an aristocratic family) and marginality (as a woman and associated with other marginal social groups) of the Maiden's character, I draw upon the funeral oration as a comparative model with which to understand the quite different role of self-sacrifice in tragedy. In addition to representing and mystifying the interests of elite, lower class and marginal groups, the play glorifies a subordinate character whose contradictory social status (both subordinate and elite) embodies the social position of other “marginal” members of Athenian society. The play stages a model for taking political action to transform the social system and for commemorating the tragic costs of such undertakings. (shrink)

Since 1900, several scholars have argued that the terms "Olympian" and "chthonian" are commonly misused or overused, and that in the realm of ritual in particular the difference between sacrifices with and those without participation in the offerings by the worshipers does not coincide with the difference between Olympian and chthonian divinities. Fritz Graf and Walter Burkert, applying a model from social anthropology, have lately maintained that participation and nonparticipation are "ritual symbols," that is, variables employed among others to articulate (...) phases within the ritual itself; they imply nothing about any recipient, and have to do only with "the inner logic of the ritual." The present paper undertakes a reassessment of the relationship between recipients of sacrifice and the various sacrificial modes from the point of view of the Olympian/chthonian distinction. It argues that Olympian and chthonian sacrificial modes are clearly distinguishable, and that the character of the divine recipient is a fundamental constitutive element of Greek ritual. The basic principles of the author's approach are worked out with reference to the test case of rituals attested at various places and dates for Zeus Polieus. It is suggested that there is a remarkable consistency of specific ritual motifs in all these cases; that very specific conceptual themes and areas of interest, centering on agriculture, are everywhere associated with this god; and that the rituals and the themes cohere with one another and constitute a specific application of the Olympian/chthonian distinction predicated on the special characteristics of this particular divinity, who has a foot in each realm. It is argued that the Olympian/chthonian distinction retains its basic significance if it is applied in a less mechanical way than it has traditionally been. It is a central organizing principle in Greek religion, but does not represent a sufficient basis for analyzing individual divinities or rituals: specific character traits and interests and the circumstances of particular rites are fundamental, and will affect its application in given cases. Nor are the two categories mutually exclusive: they constitute one essential system at work in shaping the phenomena of Greek religion, but there is a much larger area of intersection between the two sets than has generally been recognized. One specific element of Greek practice-sacrifices with participation, but where the participation is required to take place in the sanctuary-are studied in detail, and it is suggested that they belong to an area of ritual intersection between the Olympian and chthonian categories. Recipients of such sacrifices are wholly or partly chthonian in character ; the desire not to destroy meat has led in these cases to a variation on holocaust sacrifice in the direction of Olympian banqueting: participation, but in a tightly controlled ritual setting. A Hebrew parallel for this sort of ritual compromise is suggested. On the basis both of the study of this particular sacrificial mode and of the more fluid approach to the general distinction sketched earlier, a reconsideration of some canonical lists of rites regarded as exceptions to the Olympian/chthonian distinction is undertaken. Most of the exceptions can be satisfactorily reconciled with the distinction if it is conceived and applied in the manner suggested in the paper. (shrink)

There have been numerous attempts to understand the role and importance of the Great Dionysia in Athens, and it is a festival that has been made crucial to varied and important characterizations of Greek culture as well as the history of drama or literature. Recent scholarship, however, has greatly extended our understanding of the formation of fifth-century Athenian ideology—in the sense of the structure of attitudes and norms of behaviour—and this developing interest in what might be called a ‘civic discourse’ (...) requires a reconsideration of the Great Dionysia as a city festival. For while there have been several fascinating readings of particular plays with regard to thepolisand its ideology, there is still a considerable need to place the festival itself in terms of the ideology of thepolis. Indeed, recent critics in a justifiable reaction away from writers such as Gilbert Murray have tended rather to emphasize on the one hand that the festival is a place of entertainment rather than religious ritual, and on the other hand that the plays should be approached primarily asdramaticperformances. (shrink)

This paper explores how gender can operate as a disguise for class in an examination of the self-sacrifice of the Maiden in Euripides' Children of Herakles. In Part I, I discuss the role of human sacrifice in terms of its radical potential to transform society and the role of class struggle in Athens. In Part II, I argue that the representation of women was intimately connected with the social and political life of the polis. In a discussion of iconography, the (...) theater industry and audience I argue that female characters became one of the means by which different groups promoted partisan interests based on class and social status. In Part III, I show how the Maiden solicits the competing interests of the theater audience. After discussing the centrality and marginality of the Maiden's character, I draw upon the funeral oration as a comparative model with which to understand the quite different role of self-sacrifice in tragedy. In addition to representing and mystifying the interests of elite, lower class and marginal groups, the play glorifies a subordinate character whose contradictory social status embodies the social position of other “marginal” members of Athenian society. The play stages a model for taking political action to transform the social system and for commemorating the tragic costs of such undertakings. (shrink)

Generalmente se ha pensado en las Cecrópidas, las hijas del Rey serpiente Cécrope, estrechamente vinculadas a la acrópolis, como imagen de las niñas y de las jóvenes (parthenoi) en sus procesos de iniciación y de tránsito hacia la madurez (Burkert, Brulé), y ésta es, quizás, la imagen más visible de las jóvenes heroínas en Atenas. Sin embargo, no se ha tenido, quizás, tan presente su importancia, al mismo tiempo, como icono de las madres ciudadanas en esta polis en varios aspectos (...) que son esenciales para su identidad social y religiosa. Uno de ellos es la curotrofía o el cuidado de los niños, lo que va de la mano de la labor educativa de las madres y de su importancia en la transmisión de la tradición de Atenas. Otro de estos aspectos es el papel de las mujeres adultas, casadas, como responsables y dirigentes en tareas religiosas fundamentales para la continuidad y supervivencia de la ciudad, como el cuidado de la estatua de la diosa, el tejido del peplos panatenaico o la administración y el cuidado del tesoro y de los espacios sacros acropolitanos. Junto a las Cecrópidas, también las Eréctidas desempeñan un papel esencial de reproducción y de transmisión de la herencia cultual, religiosa y “autóctona” de la ciudad, lo que caracteriza, asimismo, a las madres de Atenas. (shrink)

Sophocles was both a great dramatist and a significant figure in Athenian public life. As a public figure, he was elected to important offices by the Athenian demos, but he also had a hand in the abolition of democracy in 411 bc – and then won first prize in the first tragic contest held after democracy was restored. As a dramatist, he frequently gives the impression that the common people are helpless without strong and wise leadership; but he can also (...) suggest that a leader is worth nothing if he neglects his people or ignores their opinions, and in Antigone he seems to go out of his way to highlight the importance of the opinion of the ordinary man as well as that of the elite. (shrink)

While the article discusses the factors that motivated Socrates’ decisionin the Crito, it emphasizes the possible cultural import of the choiceundertaken in the aftermath of the political upheavals in the late fifthcentury. It is also argued here that as Plato’s dialogue were written inthe period that followed the renewal of the Athenian politeia, it shouldbe perceived as having its roots both in the historical reality of its narrativefocus and in the then reality of Plato’s Athens.