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\Hellenism and Judaism\. Tadeusz Zieliński’s (1859–1944) Reflections on the Origins of Christianity
Robert K. Zawadzki examines the representation of Hellenism and Judaism in the religious studies of Tadeusz Zieliński, one of Poland’s foremost scholars of antiquity. The relationship, contacts and dealings between the representatives of the two cultures provided Zieliński with fertile ground for articulating his ideas about the origins of Christianity. By examining these conclusions, the author of this article shows how Zieliński constructed a specific image of Judaism in line with the aims and assumptions of his own work, while at the same time creating a vision of Hellenism as the real and true source of Christianity. In this article the author also proposes that Zieliński’s work should not be viewed from the perspective of contemporary religious studies, but rather as an excellent source for the history of Polish science. After all, the book is a testament not only to the author’s views, but also to the era.
Journal Article
The first European : a history of Alexander in the age of empire
In The First European: A History of Alexander in the Age of Empire, Pierre Briant examines the revival and rewriting of the history of Alexander the Great in 18th-century Europe. To Enlightenment thinkers Alexander exemplified the West and Europe, especially in his role as the conqueror of Asia. Classical texts, ancient history, and the new science of archaeology were all deployed in the service of European empire-building. Alexander was of interest to a variety of scholars from different parts of Europe - moralists, philosophers, economists, geographers, historians, and cartographers. In the course of the long 18th century, an entirely new image of the Macedonian conqueror emerged, as the precedent of European political and commercial expansion overseas.-- Provided by publisher
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The Tomb of the Diver and the frescoed tombs in Paestum
The Tomb of the Diver has been subject for many decades of fierce debate among archaeologists and classicists. Since its discovery in 1968, some scholars have considered it a unique example of the lost tradition of Greek painting, others have emphasized Etruscan or Italic parallels. More recently, a possible local production has been suggested. With the aim of trying to solve the archaeological question, an archaeometric comparison among this well-known artwork and several frescoed tombs coming from Hellenistic and Lucan necropolis was carried out. The multi-analytical study was focused on the identification of peculiar features of executive techniques and raw materials since the first period of the archaeological site. The analytical investigation has been preliminary based on a non-destructive approach, performed in-situ by portable equipment including imaging diagnostics and compositional spectroscopic techniques for identifying pigments and the conservation state of original painted surface; subsequently, a further deepening by using destructive techniques was performed in-lab for the mortar-based supports characterization. Archaeometric study suggested that technological choices slightly changed in a time span of about two centuries, highlighting important markers that allow clustering the contemporary artistic productions. Moreover, a comparison with mortars from temples decorations was provided to better understand the whole artistic context. The archaeometric data showed that the Tomb of the Diver could be traced back to a local artisanal tradition and therefore is neither Etruscan nor Greek, but the first and foremost an expression of the local elite culture of Paestum.
Journal Article
The classical debt : Greek antiquity in an era of austerity
Ever since the International Monetary Fund's first bailout of Greece's sinking economy in 2010, the phrase \"Greek debt\" has meant one thing to the country's creditors. But for millions who claim to prize culture over capital, it means something quite different: the symbolic debt that Western civilization owes to Greece for furnishing its principles of democracy, philosophy, mathematics, and fine art. Where did this other idea of Greek debt come from, Johanna Hanink asks, and why does it remain so compelling today? The Classical Debt investigates our abiding desire to view Greece through the lens of the ancient past. Though classical Athens was in reality a slave-owning imperial power, the city-state of Socrates and Pericles is still widely seen as a utopia of wisdom, justice, and beauty--an idealization that the ancient Athenians themselves assiduously cultivated. Greece's allure as a travel destination dates back centuries, and Hanink examines many historical accounts that express disappointment with a Greek people who fail to live up to modern fantasies of the ancient past. More than any other movement, the spread of European Philhellenism in the eighteenth and nineteenth centuries carved idealized conceptions of Greece in marble, reinforcing the Western habit of comparing the Greece that is with the Greece that once was. Today, as the European Union teeters and neighboring Muslim nations disintegrate into civil war, Greece finds itself burdened by economic hardship and an unprecedented refugee crisis. Our idealized image of ancient Greece dangerously shapes how we view these contemporary European problems. -- Provided by publisher
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