Herakles, a well-known figure from Greek Mythology, is well-beloved by the modern media, in their many recreations of his great tales in the form of movies, comic books, and various other platforms...Show moreHerakles, a well-known figure from Greek Mythology, is well-beloved by the modern media, in their many recreations of his great tales in the form of movies, comic books, and various other platforms of visual media. The legend, a symbol of human behaviour, but also a demi-god hero, boasts various qualities that reflect the human nature quite well, and yet he maintains a pedestal of godliness in his great acts and heroics. The legend of Herakles has been reused and reshaped since the dawn of its conception in the form of the oral traditions of the ancient Greek society. Before the well-known tales were written down or put into picture, or on the ‘big screen’ as we see them today, the legend of Herakles – and the many other Greek heroes of myth – were passed on by word of mouth. Through oral traditions, the ancient Greeks passed on the tales of great heroes, such as Achilles, Perseus, and, of course, Herakles. In this time, and countless time over the years that followed, the many tales – and subsequently, many versions of Herakles – were subject to variation and change. The result of this is evident in the written mythology present in the modern age. There is no singular version of the tale of Herakles, and instead, many different stories which present different views of the myth, and of the character. However, there are certain elements specific to Herakles that are recognisable in all recurring versions of him – be it in the stories or visual representations. These elements are parts of his appearance and are common and well-known elements to his visual depiction. The lion-skin cloak and the olive-wood club – in addition to the tall, muscular stature – are traits that are most often present in the visual depictions of Herakles in different forms of media. The variation in this visual depiction is the primary focus of this thesis. In different regions and different times, the visual depictions of Herakles have been subject to change, however, the set features that allow the viewer to recognise him as Herakles are continuously present in those depictions – from the Greek plates to modern movies. Regardless of the changes the story seems to endure, the visual representation of Herakles appears to hold a level of consistency throughout time.Show less
This thesis explores the biography of the Dying Niobid, a fifth century BC Greek statue that was found in Rome. Previous research on Greek sculptural art has mainly focussed on the objects as a...Show moreThis thesis explores the biography of the Dying Niobid, a fifth century BC Greek statue that was found in Rome. Previous research on Greek sculptural art has mainly focussed on the objects as a representation of the Classical Greek period. When looking at the Dying Niobid it becomes clear that this sculpture, one among a great body of Greek sculptures brought to Rome, has functioned in more than one context throughout its life, the ‘Greek’ context being just one of them. Therefore the question to be asked must no longer be what does the object represent, but what does it do in these different contexts? With the object as point of departure, this research will focus on the “active” role of the Dying Niobid in terms of power, influence and agency. To enable this, the main objective for this thesis is to apply a fundamentally different approach and methodology to Greek sculptures in Rome; a “cultural biographical approach” to objects. Through the methodology of the cultural biography, it is possible to take all of the contexts in which the object has functioned in consideration and reconstruct the way in which the agency and power of the object can change and accumulate throughout its existence. Exploring the biography of the Niobid leads us through different functions and appropriations of Greek art. From a fifth century BC Apollo temple in Greece, the story of the Niobid leads to Rome; the Temple of Apollo Sosianus, a Republican temple restored in Augustan times and further on to the Horti Sallustiani, a garden. In the realms of this garden the Niobid was excavated in 1906, followed by a series of events and political dispute concerning the statue. At the present the Dying Niobid still functions in Rome, on display in the Museo Nazionale Romano; Palazzo Massimo. This case-study is placed in a theoretical framework of symmetrical archaeology. Through this framework the aim is to achieve symmetry between not only the importance of the role of things, humans and other entities within each context, but also between the different life phases of the object. This will enable us to say something on the changes of meaning and agency of the object throughout time and space, and add to the wider debate on the role of Greek objects in the Roman world.Show less
