Inaug.-Diss. - Munich. / Vita. Includes bibliographical references.

Published in part as author's inaugural dissertation, University of Munich, 1899 (32 p.).

Thesis (Ph. D.)--University of California, Berkeley, May 1998. / "Spring 1998." "UMI Number: 9902178"--Prelim. p. "Printed in 2005 by digital xerographic process on acid free paper"--P. after T.p. Includes bibliographical references (p. 273-295).

Doctorat en philosophie et lettres / info:eu-repo/semantics/nonPublished

This dissertation presents, for the first time, a freestanding account of notions of time and temporality as seen in the visual arts of the late Archaic and Classical Greece and contextualizes it within the larger cultural history of time. There is a growing consensus among scholars regarding a societal shift in fifth-century Greek attitudes towards time, from the authority of the past to the uncertainties and the immediacy of the present. This dissertation explores such changing notions of time in the visual tradition in four different ways: firstly through the personification of the key notion of kairos, which embodies on many levels the manifestation of this new temporality; secondly by investigating the emergent interest of the "historical present" in the artistic subject matter of the so-called Historienbilder; thirdly through a detailed investigation of new pictorial strategies in Greek vase painting that carry specific temporal attributes, by focusing on the motifs of jumping, lifting and dropping; and lastly, by dissecting the anatomy of the popular motif of "erotic pursuits" in vase painting, which embodies the sensory nature of this new temporality that hinges upon the notion of suspense and delay. These investigations employ a new phenomenological framework that centers on the "embodied viewer", connecting the temporality as understood by the viewer with that which is portrayed in the object, bringing together the visible temporality in art and the experienced temporality of the society, which the viewer inhabits. This framework is first sketched out by offering a phenomenological reading of a full 3-D digital reconstruction of the Lysippan Kairos. Such changes in the notion of time in the visual arts, seen as early as the late sixth century BCE and fully manifest in the Classical period, is also put into relief by a brief examination of analogous literary techniques, with a focus on the case of Aeschylus.

Univ., Akad. avh.--Göteborg, 2006.

Texte remanié de : Dissertation : ? : ? : 1997. / Comprend : Text ; Plates. Bibliogr. p. 258-266 (vol. 1). Index.

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Because of their abundance and because of the insight into the ancient world offered by the depictions on their decorated surfaces, Attic painted ceramics are an extremely valuable source of material evidence. Knowing the identities and personalities of the artists who painted them not only helps us understand the paintings, but also helps in the process of dating them and, in the case of sherds, reconstructing them. However, few of the artists signed their wares, and the identities of the artists have to be revealed through a close analysis of the style in a process called attribution. The vast majority of the attributions of archaic Attic vases are due to John Beazley whose monumental works set the stage for the dominance of attribution studies in the scholarship of Greek ceramics for most of the 20th century. However, the number of new scholars trained in this arcane art is dwindling as new avenues of archaeological research have gained ascendency. A computer-aided technique for attribution may preserve the benefits of the art while allowing new scholars to explore previously ignored areas of research. To this end, the present study provides a theoretical framework for computer-aided attribution, and using the corpus of the Princeton Painter - a painter active in the 6th century BCE - demonstrates the principal that, by employing pattern recognition techniques, computers may be trained to serve as an aid in the attribution process. Three different techniques are presented that are capable of distinguishing between paintings of the Princeton Painter and some of his contemporaries with reasonable accuracy. The first uses shape descriptors to distinguish between the methods employed by respective artists to render minor anatomical details. The second shows that the relative positions of cranial features of the male figures on black-figure paintings is an indicator of style and may also be used as part of the attribution process. Finally a novel technique is presented that can distinguish between pots constructed by different potters based on their shape profiles. This technique may offer valuable clues for attribution when artists are known to work mostly with a single potter. / Thesis (Ph.D.)-University of KwaZulu-Natal, Durban, 2009.

The aim of this dissertation was to investigate the representation of specific types of animals as they occurred in Homer and archaic Attic black figure vase painting with a view to understanding bow they were most likely perceived in antiquity. This involved determining the underlying concepts around which each animal was constructed by comparing and contrasting the imagery presented in the Homeric works and archaic Attic black figure vase painting. The primary objective was to suspend modern and westernized conceptions and to attempt to approach the animal as from an ancient perspective. The Homeric works were chosen as representative of the literary evidence since these poems offer the most complete, oldest extant literature and are the result of a dynamic and continuous oral tradition. Similarly, archaic Attic black figure vase painting was considered the most suitable corpus of artistic evidence since the 6th century BC was a time when the artists actively engaged with and manipulated their themes and subject matter within an established tradition; this artistic fabric presents a parallel with the Homeric evidence. As a result of this investigation, clear and discrete concepts and images were determined for each animal. / Thesis (M.A.)-University of Natal, Durban, 2000.