To follow up on my last post, which concerned the great variety of couch styles represented on Athenian vases: If there were so many different types of klinai in the repertoire of Athenian vase painters, why did Plato choose to use the kline as a paradigm in his… Read more
In a recent article on artists' signatures in antiquity, Osborne has argued that such signatures reveal the socially embedded nature of pots, sculpture, gems etc., a collaboration between artist, object and end-user. As Osborne states, "What they all [plastic arts and literature] share is the sense that there is an 'author,' that the identity of the creator of these works is something worth knowing—and worth knowing because these are works… Read more
Perhaps I’m simply becoming provocative for the sake of provoking; or maybe I’m losing my mind; but in the process of writing this book on mathematical Pythagoreanism and its supposed progenitor Hippasus of Metapontum (fl. early-mid 5th Century BCE), I am beginning to see mathematical Pythagoreanism everywhere. And I mean… Read more
I just received some feedback on a paper in which I present some results of the character project I have been working on in the past few months, and one of the worries expressed by the reader was that my account seemed too extreme in its bottom-up, materialistic account of… Read more
We all know that Typical Euripides likes gods at the end of his plays and he likes etiology. But that guy, Typical Euripides, doesn't really exist and too often obscures the real playwright underneath. Such is the case for the end of that other Hippolytus play, Euripides' Hippolytus Veiled. Read more
