A History of Greek Art Book by Mark D Stansbury Odonnell Pdf
BOOK REVIEWS 371 the Messenger Speech. In the first case, the dissimilarity betwixt Aeschylean σήματα and Euripidean warriors implicitly claims superior adroitness, in the 2nd, the shields testify Euripides "capping" Aeschylus by choosing more appropriate and accurate symbols for each person. A detailed treatment of Andromache argues for systematic innuendo to Sophocles' lost Hermione, with further allusions to his Peleus and the Iliad, leading to interesting observations on the characterization of Andromache, Neoptolemus and Orestes, and the underwhelming conclusion that metapoetic devices nowadays the play "as a double continuation, of Homer and of Sophocles, as a rival to the latter, and as a new version of this myth" (206). Less successful is the opening discussion of Electra. Torrance approaches the much-studied recognition scene by teasing out self-referential terms and themes; thus the Old Man brings vino, which can symbolize poetry, he refers to the χρῶμα of the pilus at the tomb, a word which may denote the texture of music, he speaks of the measure of a footprint, a term in meter, and asks about weaving, a metaphor for poetry. The claim that each is metapoetic is strained, and the decision—that the audience is invited to reflect on dramatic conventions— adds petty to our agreement of the scene. The eclectic nature of Metapoetry in Euripides should allow information technology to appeal to readers with a wide range of interests, both allusion and cocky-reference, the formal device of ekphrasis and the theme of writing, Greek drama in general and Euripides in detail. FRANCIS Thou.DUNN University of California, Santa Barbara, fdunn@classics.ucsb.edu * * * * * A History of Greek Art. By Marker D. STANSBURY-O'DONNELL. Malden and Oxford: Wiley Blackwell, 2015. Pp. xxviii + 402. Paperback, $66.95. ISBN 978-14443 -5015-9. For decades, textbook options for introductory Greek Fine art and Archaeology courses were limited to Biers (The Archæology of Hellenic republic) and Pedley (Greek Fine art and Archaeology). In contempo years no fewer than three new textbooks appeared, aiming at the same introductory undergraduate market: Barringer 2014 (reviewed in CJ 2016.03.08 and in BMCR 2016.06.05); Neer 2012 (reviewed in CR 63.1, 2013, 225-226); and the volume under review hither. Similar Neer'southward book, the Stansbury-O'Donnell volume consists of fourteen chapters; double the number of Barringer's text. Eight chronological capacity, from the Early 372 Volume REVIEWS Bronze Age through the Hellenistic period, are preceded by an introduction and interspersed with thematic chapters. This reflects the challenge faced past textbooks like this: to balance the traditional goal of giving students an overview of stylistic developments, illustrated by a big number of canonical works, and the aim to equip them with a skillset by familiarizing them with the interpretative process archaeologists use to make sense of artifacts and assemblages. StansburyO 'Donnell tries to do both, but the result of the large number of works and dense information content, coupled with a modest and dense print, feels slightly overwhelming. The structure inevitably causes some going back-and-forth when works feature in multiple capacity: on folio 272, for example, all seven references to illustrations refer the reader to other capacity, and a discussion of the Early Geometric "Boots Grave" is split between chapters iv (73–iv) and 13 (327). Cross-references are fantabulous, but one may wonder to what extent students would bother flipping back and forth through the text. Whereas Neer offers three case studies of important sites, StansburyO 'Donnell'south text includes 2 capacity on contexts ("civic, domestic, and funerary;" and "sanctuaries and architecture") and an additional three on the themes of narrative; the production of Greek art and its markets; and identity. The decision to movement away from blazon sites to themes allows students to discover that they tin can apply certain ways of looking at fabric culture to any multitude of sites, assemblages, or individual artifacts. This approach as well allows StansburyO 'Donnell to bring in some of his greatest expertise (in iconography, narrative, and gender and identity), and his descriptions and analyses of scenes on pottery and how they reflect society are excellent. As the title suggests, the focus of the book is unapologetically on art, and Stansbury-O'Donnell's expertise in...
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