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The ancient Greeks were naked or rode on horseback, nor, even approximately, looked like an idealized images. Judging by the average Greek osteoarheološkom material was a stocky, robust, relatively short legs.
How, then, the Greek art defines a man? Aristophanes legendary winners of the marathon describes: smooth chest, bright skin, big shoulders, a short tongue, a big butt and a small penis (Clouds, 1011-13). The man was naked, a woman, until the beginning of Hellenism Praksitela and mostly dressed. Only with a few exceptions, all the Greek artists, and all the ancient authors who wrote about nijma men. Greek world, as we know it today, is a male world, and the state, the polis, the patriarchal concept of involving only adult congenital men. Publicly displayed works of art, especially sculpture and architecture are much more addressing the man, but a woman. All of this points to one, relationship between the audience and watched in Greek art becomes the relationship between Erastus and eromena, beloved and lover, in which the sculpture (or pictures) eromen, junior partner in a homosexual relationship, which is passive, perhaps, accentuated reduced penis . Does this mean that Partenonski frieze procession desirable homosexual partners? Worth it just for the tens of thousands of kouros, a sculpture of naked boys who are like tombstones stood all over the Greek world? It is obvious that we can not Greek construction of corporeality and sexuality measure today's standards, but the affinity that our culture is shown to the classics (Twentieth Century, however, follows the trend of abandonment of traditional forms) are not missed. Later, we see that there, although there is a huge gap of misunderstanding, many points of contact between modern and Greek civil taste.
When we talk about the relationship of the human body, with all their needs, and cultural norms, are talking also about how integration in society. The basic form of the Greek society is distinct homosocijalnost, and for the Greek polis, we can rightly say that the men's club, while all other social groups condemned the segregation (women, foreigners), or completely off (the slaves). Unlike the Eastern civilizations, where distant and invisible to authorities govern the lives of its subjects, the polis, which is completely independent and self-sufficient entity, a man (man) becomes visible, palpable agent in the creation of the state. However, this task is not easy. Greek soldier, farmer or tradesman, a voter, a full-fledged citizen, all in one. Tensions emerged that many contradictory roles that the Greeks had to exercise can be felt in the description of the Athenian demos from around 400 BC AD: capricious, choleric, unjust, inconstant, but also accommodating, compassionate, sympathetic, boastful, conceited, humble, gentle and wild, all in one. (Gas NH 35th 69) Not surprisingly, therefore, that neither Plato nor Aristotle placed him in a democracy are not desirable and equitable social order.
The woman was in the polis became the antithesis of a positive, active, male principle. At the Parthenon on the two places could see the struggle of the Greeks against the dangerous female troupe, the Amazons (the metopes and the Athena's shield), while in the temple, on the podium Athens Partenos there view of creating the first woman, Pandora, which, as we have learned from Hesiod, gods created as an evil for men. The final showdown with the role and position of women in Athenian society has been registered on the mythological level, the story about the trial of Orestes, murderer of the mother. The lawsuit was Apollos' argument prevailed, thanks to Athena's casting vote, that the woman just groove in which a man throws seed, and that she does not play a role in inheritance and does not determine the future no man. Orestes is, therefore, solely responsible father as a single parent. However, when you mention all the art and mythology of all, we know that these are fields in which most reflects the state ideology. The role of women in Greek society was hidden, but very important, as today in some areas of the Mediterranean. But what we are currently most interested in is to be very long portrayed women as revised (incomplete) man, and that odjevenost its natural state. It seems that the show (and show), femininity was particularly limited, and that is seen as subversive in a strictly male polis.
The fundamental tension that permeates the polis and who is much involved in the construction of Greek mythology, literature and culture in general, the conflict of the individual and authority, and desire and the law. Characteristically, the civil society of equal to the materialism and competitiveness rises ambitious and egotistical individual who lust for the material is transformed into the desire for all the pleasures available to him. Greeks see such a symposium, spree that has become a central ritual of civic life, where the drinking and the competition in elegance and wisdom of engaging in all possible sexual pleasures. Quite different is the Greek who walks under the heavy weapons as part of a faceless phalanx. Pressed and pushed the bodies completely lost personality, and the only thing left is his awareness of obedience to the strict requirements of the battleship row, which only he can ensure survival. His body, which plays a central role in his worldview, it is now part of a large body of the polis, and above it no longer has any power. When Plato says: What in fact what most people call it peace (...) is just empty words, and things are by nature all of the state (polis) in nenaviještenom constant war with all countries. (Laws 626-a), does this mean that peace is an unnatural, perhaps even more dangerous state of war? It is obvious that the constant uncertainty of war has a strong role in the cohesion policy. Uniformed and hardly moving phalanx carries a clear message to the necessity of unity and submission to the community.
scan0024
The ancient Greeks were naked or rode on horseback, nor, even approximately, looked like an idealized images. Judging by the average Greek osteoarheološkom material was a stocky, robust, relatively short legs.
How, then, the Greek art defines a man? Aristophanes legendary winners of the marathon describes: smooth chest, bright skin, big shoulders, a short tongue, a big butt and a small penis (Clouds, 1011-13). The man was naked, a woman, until the beginning of Hellenism Praksitela and mostly dressed. Only with a few exceptions, all the Greek artists, and all the ancient authors who wrote about nijma men. Greek world, as we know it today, is a male world, and the state, the polis, the patriarchal concept of involving only adult congenital men. Publicly displayed works of art, especially sculpture and architecture are much more addressing the man, but a woman. All of this points to one, relationship between the audience and watched in Greek art becomes the relationship between Erastus and eromena, beloved and lover, in which the sculpture (or pictures) eromen, junior partner in a homosexual relationship, which is passive, perhaps, accentuated reduced penis . Does this mean that Partenonski frieze procession desirable homosexual partners? Worth it just for the tens of thousands of kouros, a sculpture of naked boys who are like tombstones stood all over the Greek world? It is obvious that we can not Greek construction of corporeality and sexuality measure today's standards, but the affinity that our culture is shown to the classics (Twentieth Century, however, follows the trend of abandonment of traditional forms) are not missed. Later, we see that there, although there is a huge gap of misunderstanding, many points of contact between modern and Greek civil taste.
When we talk about the relationship of the human body, with all their needs, and cultural norms, are talking also about how integration in society. The basic form of the Greek society is distinct homosocijalnost, and for the Greek polis, we can rightly say that the men's club, while all other social groups condemned the segregation (women, foreigners), or completely off (the slaves). Unlike the Eastern civilizations, where distant and invisible to authorities govern the lives of its subjects, the polis, which is completely independent and self-sufficient entity, a man (man) becomes visible, palpable agent in the creation of the state. However, this task is not easy. Greek soldier, farmer or tradesman, a voter, a full-fledged citizen, all in one. Tensions emerged that many contradictory roles that the Greeks had to exercise can be felt in the description of the Athenian demos from around 400 BC AD: capricious, choleric, unjust, inconstant, but also accommodating, compassionate, sympathetic, boastful, conceited, humble, gentle and wild, all in one. (Gas NH 35th 69) Not surprisingly, therefore, that neither Plato nor Aristotle placed him in a democracy are not desirable and equitable social order.
The woman was in the polis became the antithesis of a positive, active, male principle. At the Parthenon on the two places could see the struggle of the Greeks against the dangerous female troupe, the Amazons (the metopes and the Athena's shield), while in the temple, on the podium Athens Partenos there view of creating the first woman, Pandora, which, as we have learned from Hesiod, gods created as an evil for men. The final showdown with the role and position of women in Athenian society has been registered on the mythological level, the story about the trial of Orestes, murderer of the mother. The lawsuit was Apollos' argument prevailed, thanks to Athena's casting vote, that the woman just groove in which a man throws seed, and that she does not play a role in inheritance and does not determine the future no man. Orestes is, therefore, solely responsible father as a single parent. However, when you mention all the art and mythology of all, we know that these are fields in which most reflects the state ideology. The role of women in Greek society was hidden, but very important, as today in some areas of the Mediterranean. But what we are currently most interested in is to be very long portrayed women as revised (incomplete) man, and that odjevenost its natural state. It seems that the show (and show), femininity was particularly limited, and that is seen as subversive in a strictly male polis.
The fundamental tension that permeates the polis and who is much involved in the construction of Greek mythology, literature and culture in general, the conflict of the individual and authority, and desire and the law. Characteristically, the civil society of equal to the materialism and competitiveness rises ambitious and egotistical individual who lust for the material is transformed into the desire for all the pleasures available to him. Greeks see such a symposium, spree that has become a central ritual of civic life, where the drinking and the competition in elegance and wisdom of engaging in all possible sexual pleasures. Quite different is the Greek who walks under the heavy weapons as part of a faceless phalanx. Pressed and pushed the bodies completely lost personality, and the only thing left is his awareness of obedience to the strict requirements of the battleship row, which only he can ensure survival. His body, which plays a central role in his worldview, it is now part of a large body of the polis, and above it no longer has any power. When Plato says: What in fact what most people call it peace (...) is just empty words, and things are by nature all of the state (polis) in nenaviještenom constant war with all countries. (Laws 626-a), does this mean that peace is an unnatural, perhaps even more dangerous state of war? It is obvious that the constant uncertainty of war has a strong role in the cohesion policy. Uniformed and hardly moving phalanx carries a clear message to the necessity of unity and submission to the community.