Abstract
This paper will discuss a piece of Greek ceramic pottery from the Art Institute of Chicago. By analyzing its origins, the style, materials, patron, function and the social context it had within the time period, we can see the history unfold about the Greek vase in its entirety. In revealing the nature of the object to be studied, there can be a well-rounded observation of the artifact and will tell us much about the life of the Greeks from this period.

Abstract
This paper will discuss Roman and Greek roles of women in history. By learning the different aspects of their daily lives, as well as some roles that they held in their societies, we can see how they lived. By learning of these kinds of women in history, we can see how they were treated, and under what auspices they were dominated by men.

Abstract
This paper examines the ancient Greek gods and goddesses and compares the ancient view of them with the modern view.

Tags:greek, gods

Abstract
This paper examines the controversy that exists over the "Elgin Marbles", which were originally part of the Greek Parthenon's frieze, that were taken by Lord Elgin of England in the late 18th century. The paper takes the position that the statues and other artifacts which currently are housed in English museums, are the rightful property of the Greek people and should be returned to Greece. The paper is divided into several sections. The first gives a history of the Elgin Marbles and how they came into possession of the English in the first place. A brief history of the Parthenon is also given in this section, with a detailed examination of the architecture and the ancient politics that surrounded its construction. The paper then spans the history of the Parthenon up until the 18th century, including the building losing its roof and several architectural designs due to the Ottoman Turks using it as an armory during their control of Greece. The paper discusses how British archaeologists claimed the pieces in the 1800s, fearful that the Greeks could not maintain such classical pieces of work. The paper ends with a section discussing the latest improvements that are underway in Greece to house the "Elgin Marbles" if an international agreement can be reached that will send the pieces of the Parthenon back to Athens. The concept of Greek pride and honor in their ancient ancestry is discussed and how originally, when Greece was unable to maintain such pieces, the idea to keep them in England was the correct decision to be made.

From the Paper
"The mere thought of The Parthenon evokes an image of dignity and pride for not only the current Greek citizens who look upon their ancient ancestors with honor, but for the entirety of Western civilization who view The Parthenon as a representation of the greatness that can be achieved by Western culture. Using this Western concept of pride as a basis, it is clear to see why the British government has its roots in claiming that the treasures of the Parthenon would be better served in a more upscale environment such as The British Museum rather then an unfinished Acropolis museum in Athens. Nevertheless, the removal of The Parthenon artifacts, which are known as The Elgin Marbles since the works of art were "purchased" by the English noble Lord Thomas Bruce of Elgin in 1801, was in essence an infraction upon the Greek populace's right to their ancestors' culture. In large part due to the importance of The Parthenon and the culture that it represents to Greece, the rightful place of the Elgin Marbles is in Athens where the pieces of architecture were always intended to remain when they were completed. "

Tags:architecture, art, lord, pericles, persian, wars

Abstract
This paper is on the "Emergence of Hellenistic art". It includes a brief detail of the Hellenistic period and the Hellenistic art.

Abstract
The paper describes and discusses a Greek krater. A krater is an ancient Greek vase or bowl. The paper looks at how kraters were originally used for mixing wine with water at banquets and describes its specific style. The paper introduces the geometric style Krater with an example in the Metropolitan Museum of Art in New York. It also analyzes how the geometric style evolved and the issues with dating these works.

From the Paper
"A krater is a Greek vase or bowl. It has a wide mouth, handles on either side, and a foot on which it stands. These bowls were used to mix wine with water at banquets in ancient Greece. These vases are often adorned with scenes from Greek mythology or scenes of banquets like the one at which the krater would be used. Many of the kraters found in Greece reflect what is called the geometric style, an example of which is the Terracotta Krater, ca. 750-735 B.C., found today in the Metropolitan Museum of Art in New York. The geometric style this krater represents is an early form that evolved into more advanced forms of Greek vase painting, and dating such works can be an issue because the geometric style often persisted beyond its early date and so co-existed with more advanced styles."

Tags:greek, krater, vase

Abstract
The Parthenon (447-32 BCE) was a crowning glory of Athenian civilization of the classical era and, what is more important, it was intended as such at the time. Thus, nearly 2,500 years later, it is possible to view the building as incorporating all of what the Athenians saw as beautiful, sacred and of civic importance in architecture. The paper shows that as its overwhelming position and the nature of its sculptural decoration make clear, it was the focal point of the religious-civic identity of the Athenian polis. The paper describes how the Parthenon housed the great statue of Athena Parthenos, was the main building in the complex of temples dedicated to the gods on the sacred rock of the Acropolis, depicted some version of the most important Athenian religious ceremony (the Panathenaic procession and festival) and loomed over the city as a reminder and a promise of Athenian greatness.

From the Paper
"But there was also a contradiction in being expected to achieve the perfection of the Doric order on a much larger scale, for which adjustments had to be made to the greater number of columns. As Boardman points out, however, the wider facades lent the building a "reassuring breadth which is enhanced by the way its proportions then seem to match those" of the Acropolis on which it stands (112). But this breadth might have been oppressive in its effects if the architects had not devised a means of avoiding too great a visual equivalence between the rock and the temple. Their solution was a very subtle curvature of the stylobate, and the rest of the floor, which is also reflected in the entablature. This also affects the columns which "lean slightly in while the upperworks [that they support] lean slightly out" (Boardman 112). This gives the entire facade a "pyramiding movement" to which all the external lines contribute; ever so subtly, therefore, the columns' inward inclination lends itself to a slight triangular effect that is enhanced by the surmounting pyramid of the pediment (Martin 292)."

Tags:Piraeus, Phidias, Iktinos, Kallikrates

Abstract
Ancient civilizations have had a diverse history in respect to homosexuality. Two of the most dominant civilizations of the early Western civilizations were also quite different in how they perceived homosexuality. The Greeks saw a loving, often sexual, relationship between an older man and a younger man or boy to be a nurturing part of citizen-building. The Romans, however, perceived all sex and all male behavior as an opportunity for establishing domination over others. While both cultures accepted homosexuality to differing degrees and for different reasons, it was during the course of the Roman Empire that homosexuality became more frequently unacceptable in an increasing number of contexts. It is the purpose of this paper to examine the differences between Greek and Roman homosexuality.

Abstract
This paper discusses the ancient Greek city-states of Athens and Sparta in terms of their respective origins, political structures, and societies. The basic similarities and differences between them are analyzed, and conclusions are drawn from the facts ascertained.

Abstract
This paper argues that bull-leaping was not an intentional act of human sacrifice, but rather a highly prestigious, overtly religious ritual undertaken by the Minoan elite. It describes bull-leaping as depicted in archaeological evidence, explores to what extent the practice could have resembled the artistic depictions of the act and analyses the danger and possibility of performing such a feat. The paper also considers the controversial evidence of "human sacrifice" at the Anemospilia temple; looks at the other violent sports practiced by the Minoans; emphasises the religious significance of bull-leaping and discusses the necessary skill of the bull-leapers themselves.

From the Paper
"That the Minoans practised human sacrifice was a possibility introduced following the grisly findings at the Anemospilia temple. Inside the temple ruins was, as Castleden1 (1990, 168-73) describes, the remains of a young man, with his legs tightly folded up, upon what appears to have been a sacrificial table. A long bronze blade was found beside him. The excavators, Y. Sakellarakis and E. Sapouna-Sakellaraki, proposed that the youth was sacrificed in order to avert the impending earthquake which destroyed the temple. Castleden not only maintains that human sacrifice was performed in this instance, he insists that it would have been an integral religious practise - enacted on many more occasions. He pushes the concept of the Minoans hidden 'shadow side' - mentioning several other examples."

Tags:Knossos, Minos, Bronze, Age, Goddess, Mycenaean, Anemospilia