In 508/7 B.C.E., after years of chaos and uncertainty, the city of Athens was rocked by a momentous occurrence: the passage of a series of reforms that resulted in what has come to be known as the world's first democracy. Exactly how the Athenians did this is still a fundamental question 2,500 years later. The results of the reforms transformed the very nature of what it meant to be Athenian and their far-reaching effects would come to leave their mark on nearly every aspect of society, including the structures at which they prayed and in which they debated legislation. By attending to the built environment broadly, and monumental architecture specifically, this book investigates the built environment of ancient Athens precisely during this time, the late Archaic period (ca. 514/13 - 480/79 B.C.E.). It was these decades, filled with transition and disorder, when the Athenians transformed their political system from a tyranny to a democracy. Concurrent with the socio-political changes, they altered the physical landscape and undertook the monumental articulation of the city and countryside. Interpreting the nature of the fledgling democracy from a material standpoint, this book approaches the questions and problems of the early political system through the lens of buildings. The focus on monumental structures erected during this particular time period demonstrates how the built environment worked to facilitate the functioning of the nascent political regime. While Athenian democracy--its institutions, ideology, and capabilities--has been intensively studied, little attention has been paid to the intersection between built structures and the political system during its earliest phases. This book draws attention to a pivotal period of Athenian political history through the built environment, thereby exposing the richness of the material record and illustrating how it participated in the creation of a new democratic Athenian identity.
In 508/7 B.C.E., after years of chaos and uncertainty, the city of Athens was rocked by a momentous occurrence: the passage of a series of reforms that resulted in what has come to be known as the world's first democracy. Exactly how the Athenians did this is still a fundamental question 2,500 years later. The results of the reforms transformed the very nature of what it meant to be Athenian and their far-reaching effects would come to leave their mark on nearly every aspect of society, including the structures at which they prayed and in which they debated legislation. By attending to the built environment broadly, and monumental architecture specifically, this book investigates the built environment of ancient Athens precisely during this time, the late Archaic period (ca. 514/13 - 480/79 B.C.E.). It was these decades, filled with transition and disorder, when the Athenians transformed their political system from a tyranny to a democracy. Concurrent with the socio-political changes, they altered the physical landscape and undertook the monumental articulation of the city and countryside. Interpreting the nature of the fledgling democracy from a material standpoint, this book approaches the questions and problems of the early political system through the lens of buildings. The focus on monumental structures erected during this particular time period demonstrates how the built environment worked to facilitate the functioning of the nascent political regime. While Athenian democracy--its institutions, ideology, and capabilities--has been intensively studied, little attention has been paid to the intersection between built structures and the political system during its earliest phases. This book draws attention to a pivotal period of Athenian political history through the built environment, thereby exposing the richness of the material record and illustrating how it participated in the creation of a new democratic Athenian identity.
This is the final book of the Canterwood Crest books starring Sasha Silver. Though the series will continue, there will be a new main character to narrate the series!
Farce has always been relegated to the lowest rung of the ladder of dramatic genres. Distinctions between farce and more literary comic forms remain clouded, even in the light of contemporary efforts to rehabilitate this type of comedy. Is farce really nothing more than slapstick-the "putting out of candles, kicking down of tables, falling over joynt-stools," as Thomas Shadwell characterized it in the seventeenth century? Or was his contemporary, Nahum Tate correct when he declared triumphantly that "there are no rules to be prescribed for that sort of wit, no patterns to copy; and 'tis altogether the creature of imagination"? Davis shows farce to be an essential component in both the comedic and tragic traditions. Farce sets out to explore the territory of what makes farce distinct as a comic genre. Its lowly origins date back to the classic Graeco-Roman theatre; but when formal drama was reborn by the process of elaboration of ritual within the mediaeval Church, the French term "farce" became synonymous with a recognizable style of comic performance. Taking a wide range of farces from the briefest and most basic of fair-ground mountebank performances to fully-fledged five-act structures from the late nineteenth century, the book reveals the patterns of comic plot and counter-plot that are common to all. The result is a novel classification of farce-plots, which serves to clarify the differences between farce and more literary comic forms and to show how quickly farce can shade into other styles of humor. The key is a careful balance between a revolt against order and propriety, and a kind of Realpolitik which ultimately restores the social conventions under attack. A complex array of devices in such things as framing, plot, characterization, timing and acting style maintain the delicate balance. Contemporary examples from the London stage bring the discussion u
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