Thesis (Inaugural dissertation)--Universität Leipzig. / Includes bibliographical references.

Inaug.-diss.--Munich. / Vita. "This work in somewhat enlarged form is published under the title 'The attitude of the Greek tragedians toward art'."

This thesis aims to take a small body of folk art material and place it in its broadest social, economic and cultural context. The items on which this discussion is based are the domestic folk textiles of Crete. This material was chosen for several reasons; Crete has always been a cross-roads in the Mediterranean and as a result of its varied history it is likely to show clearly any influence which historical and social background may have on folk art. The thesis begins with a discussion of folk art in general and Greek folk art in particular. It is suggested that folk art is above all the product of the environment in which it was produced and that it is made in essentially traditionalr ural societiesb y thoseb y whom it will be used. This theory is then applied over five chapters to Cretan folk textiles, beginning by taking the objects in their broadest possible context and homing in on the more specific aspects of their function and use. First the varied history of Crete is examined and it is deduced that the foreign governors of Crete during the Modem period exercised considerable control over the native population, their influence permeating throughout society. The origin of the raw materials involved in the production of textiles is then examined with special reference to the availability and movement of the materials concerned. They are found to come predominantly from very close to their site of use. The textiles are examined as artefacts in their own right and found to serve practical, decorative and social functions. In the last case they appear in large quantities as dowry goods and as such are capable of representing skill, wealth and status. Finally, the techniques and designs on both weavings and embroideries are examined. The result is a combination of native and foreign devices, together with many of those features which are found on folk art all over the World. In this way it is argued that folk art is reflection of its environment in its broadest sense and to remove such artefacts from their context is to risk misunderstanding their character, function and appearance.

The aim of this study is to test the assumption that the depictions of ancient boxing found on Attic Black and Red Figure pottery are accurate. Due to the scarcity of ancient written material and physical evidence, most of our knowledge of the sport must be based on the depictions themselves. / This thesis sets out to discover whether or not our basis of knowledge, the vases and their depictions, are accurate and reflect what truly happened in a boxing match. To accomplish this, two main variables are put to test: the ratio of left- and right-handed boxers, and the occurrence of certain tactics used when right-handed and left-handed fighters face each other. / Primary sources of depictions are drawn from the Panathenaic amphorae together with some other Attic Black and Red Figure vases. Boxing knowledge is that of the author, who has studied in the field for the past five years.

Thesis (doctoral)--Ruperto-Carola-Universität zu Heidelberg, 1913. / Also published as chapter 1 of the author's Die Schlange in der griechischen Kunst und Religion. -- Giessen : Töpelmann, 1913. -- (Religionsgeschichtliche Versuche und Vorarbeiten ; 13. Bd., 2. Heft). Includes bibliographical references.

Thesis--Friedrich-Wilhelms-Universität zu Berlin, 1937.

No description available.

No description available.

No description available.

An image of the body in the act of attack might be taken as an inherently episodic or narrative motif, due to the apparently transitive nature of the movement involved. Such a categorization is challenged, however, by an array of ancient Greek images that distance the attacking figure from a temporal context, as by the elision of an explicit victim; such images betray the attacking body’s “iconic” aspect, which is underlain by the efficient communication of symbolic values linked to the identity of the subject. This dissertation surveys the development of the iconic motif of the attacking body across diverse media, from its cross-cultural origins in the Bronze Age to its reformulations in the Archaic, Classical, and Hellenistic eras. In doing so, it tracks the codification of value-rich attacking “schemata” (recurring poses) in the representation of particular identities, including warriors, athletes, and various divinities, among others. Integrating the social-symbolic model of gesture and the body that has emerged across academic disciplines with a generally (though not exclusively) semiotic approach to the ancient imagery, the study elucidates key continuities in the significance of the motif as it appears in multiple forms and across an intriguing range of iconographic and functional contexts. Ultimately, it builds an argument that in a society in which the exertion of violence was central to the performance of status and the construction of power, the visual motif of the attacking body was critically linked to the figuration of human and divine identity: the “act as attribute.”