What Are The Similarities Between Perikles And Caracalla

The emphasis accorded these contingencies of physiognomy and the resolute refusal of any concession to our - or, so it would appear, antiquity’s - ideas of desirable physical appearance lead one easily to the conclusion that those portraits are uncompromising attempts to transcribe into plastic form the reality of what is seen, innocent of any “idealization” or programmatic bias. These are the portraits of the conservative nobility (and of their middle-class emulators) (luring the death-agonies of the Roman republic. There is no need to doubt that much of their character refers to quite real qualities of their subjects. These are men in later life because the carefully prescribed ladder of public office normally allowed those who followed it to attain only gradually and after many years to such eminence as would allow the signal honor of a public statue. One may well suppose that these hard-bitten and rather unimaginative faces closely reflect the prevailing temperament of the class and society to which they belong, and the twisted and

The marble sculpture of Kritios Boy from Greece, ca. 480 BCE marks an influential point of stylistic evolution. In contrast to Khafre Enthroned, The Kritios Boy was created for a public audience. The Kritios Boy’s standing pose represents a freedom in his figure that divorces the solidity of the stiffly seated Khafre. Rather than emanating timelessness, this naturalistic sculpture seems to capture a specific moment in time. Mirroring a normal human stance of balance and weight shift onto one leg, his stature is contrapposto. Furthermore, the Kritios Boy’s physical composition maintains a smooth contour to his natural musculature. His head is slightly turned with hair that seems to fall effortlessly in place. He is completely naked, wearing only a relaxed expression on his face. With no indication of identity, the Kritios Boy exemplifies naturalism in Greek drive to order to analyze form into constituent parts and represent the specific in light of the generic.

A reading of Thucydides’, Pericles’ Funeral Oration and The Melian Dialogue uncovers both contrasting and comparable viewpoints on Athenian politics, power, aims of war, and empire. Thucydides presents two differing characteristics of Athens, one as the civilizer in Pericles’ funeral oration and the other as an tyrant in the Melian dialogue. In the funeral oration delivered by Pericles during the first year of the war, the Athenian leader emphasizes the idealized personal image of the Athenians in regard to their constitution and good character. Pericles goes on to praise the Athenian democratic institution of Athens that contributes to their cities greatness; in Pericles’s own words, “The Athenian administration favors the many instead of few… they afford equal justice to all of their differences” (112, 2.37). This quote emphasizes the good character of the Athens’ to coax and encourage the Athenians to preserve and better their great empire into the future. On the other hand, in the Melian dialogue, this notion of justice and equality is irrelevant; one, because Athens compared to Melos, is the stronger of the two and thus, is more powerful. Further, Athens, will continue to acquire absolute power and build its empire by conquering Melos and whomever else stands in its way. Through Pericles’ funeral oration and the Melian dialogue, the following conclusions/themes will demonstrate both the changing and somewhat stable nature of Athenian policy with regards to empire,

In the Aftermath of the Peloponnesian war between Athens and Sparta, Pericles, Athens’ general and statesmen, delivered a powerfully comforting eulogy to the polis of Athens, assuring the people that their city state is in good hands, and easing the pain of all the families and relatives of the deceased. He uses several rhetorical devices throughout his speech to gain a positive emotional appeal by his audience and makes assertions in the attempt to enhance and transform the perception of him by the audience.

One of the basic themes of the book is that the thought and the art of classical Athens is full of meaning for people of later generations. It is the full of meaning for nations, cultures and societies beset by broad-scale and profound social and political change and the accompanying confusion and fear produced in the minds and souls of human beings.

The service to Athens was expected not only on the battlefield but in the political realm as well. The firm stance taken by Pericles about the political interests of the citizens’ of Athens was, “we do not say that a man who takes no interest in politics is a man who minds his own business; we say that he

The goal of this paper is to prove my understanding of Plato’s critique of Athens by comparing Pericles’ Funeral Oration to Socrates’ Apology. Plato wrote Socrates’ Apology to express his ideas and opinions on the flaws of democracy. Pericles’ Funeral Oration is a speech given to the community of Athens during a time of war. Pericles is trying to encourage and raise the spirits of the citizens of Athens because according to him, they live in the greatest city on earth. To demonstrate my understanding of The Apology and the Funeral Oration, I will summarize both pieces and then provide specific examples of Pericles’ ignorance about the democracy in Athens, and of Socrates’ wisdom about human nature and politics, to further explain the comparison between the two. Both pieces of literature can be analyzed under the concept of The Allegory of the Cave, written by Plato. In a sense, Pericles is stuck further back in the cave than Socrates because Socrates understands the flaws of the democracy in Athens and recognizes that humans do not know everything, whereas Pericles has one closeminded perspective of Athens.

Throughout history, many civilizations have risen and fallen carrying along with them their perspectives and beliefs manifested in works of art. All civilizations have erected monuments to not only prove they existed, but because they believed they would remain permanently. The Ancient Greeks were no different, portraying their ideal standards of beauty and proportion into their sculptures. Their ideal perception of adulation “represented the highest form of perfection, comparable to the infinite impeccability of their gods and goddesses” ( ). Evidently, the Ancient Greeks ideals served as a prerequisite that transcended into the ideals of their successors, the Ancient Romans.

With the rise of Alexander “The Great” begins the Hellenistic Age which is used to describe a time which Greek culture spread to places like Egypt and Asia. Due to this Greek culture had changed from what it was during Classical Greece as they were able to achieve much more with this new diverse culture. The Classical Age of Greece is known for its work in philosophy and the arts. The work of Greek philosophers of this time such Socrates, Plato, and Aristotle cannot go unnoticed in these contexts as their accomplishments still have lasting effects on our world today. Along with the great work of these philosophers, came other great works in architecture and drama. Beginning in 448 B.C. Pericles began the construction of the Acropolis,

I am choosing to focus on the imperial portrait reliefs from the Ara Pacis for matrix cell 1 because this monument combines politics, religion and social values. The Ara Pacis Augustae epitomizes the Mos Maiorum, the visual manifestation of Roman virtues and laws. This paper will explain why the reliefs on the Ara Pacis can be considered political propaganda. Furthermore, I will analyze how the art in this monument exhibits the importance of civic piety in Roman politics.

Pericles was known for being a powerful speaker and in the end, the Athenians took his advice and war soon followed. A year after war broke out, Pericles was once again invited to speak, this time at the customary public funeral for those who had fallen in combat. What follows is arguably the best eulogy in history. For the families of the fallen soldiers he states that they did not truly die, for “famous men have the whole earth as their memorial…not in any visible form but in people’s hearts, [where] their memory abides and grows.” Of Athens he says, “Future ages will wonder at us, as the present age wonders at us now.” Pericles is able to remain optimistic of Athens’ victory and

The funeral oration by Pericles is filled with instances in which he exhibits love for common good that surpasses individual benefit. According to Pericles, the Athenians illuminate qualities of people who are good and contribute to the benefit of their city because it is in fact great. In this case, it is possible for the reader to infer that common good can only be attained if the society in which individuals live is permissive of the same. Indeed, it is human nature to tend to feel the individual need and promote its good as opposed to what is good for the society in general. However, Pericles attempts to resolve this predicament of individual and common good by showcasing that people are capable for having such a collective form of thinking if they reside in a society that is permissive of the same. The inference can be gathered from the manner in which the orator describes Athens with so much awe. In his opinion, the city is to be admired because it is economically, socially, and politically great. There is a high level of democracy in Athens, so much so that anyone can wake up one day and decide to be a ruler. He regards the city as one to be admired by many, and in which the aspects of equality and

In the article “The Battle for the Parthenon Marbles”, written by Helena Smith, the author shows the reader the debacle the Parthenon faces. She shows the reader how the New Acropolis Museum has transformed Athens. Since the opening of the museum there has been in increase in traffic and cafes and restaurant have been full. In the first post-opening press conference Greek officials couldn’t contain their excitement after looking at the high number of ticket sales. The buyers of these tickets were both local and abroad. In the first five days of the opening about 55,000 people had bought the tickets. The New Acropolis Museum is on track to retrieve the Parthenon sculptures from the British

There are two important matters that the "Funeral Oration of Pericles" proves, these two matters are, the great respect that Athenians have for their warrior class and how the Athenians were exceedingly proud of their city and its customs. The following paper discusses the way of life of Athenians and how the Funeral Oration of Pericles influenced it.

In 27 BC Augustus began his political career with a “new policy which embodied a national and Roman spirit” (Galinksy, 1996, 225) and “represented new heights in creativity and sophistication” (Galinksy, 1996, 225). Augustus created a new political propaganda campaign that used art and architecture to promote and enhance his regime. The most fundamental message can be regarded as to establish the legitimacy of his rule and to portray him as the natural successor of Rome, as this is consistently presented throughout the visual programme. Yet factors such as the restoration of the Republic, reviving the old religion, nationalism and militaristic triumph can also be seen to be communicated prominently through art and architecture.