The status of Athens and its culture in the Hellenistic period.

希腊化时期雅典的地位及其文化。

• 批准号: 2737290
• 金额: --
• 依托单位: University of Oxford
• 依托单位国家: 英国
• 项目类别: Studentship
• 财政年份: 2022
• 资助国家: 英国
• 起止时间: 2022 至 无数据
• 项目状态: 未结题
• 来源: https://gtr.ukri.org/projects?ref=studentship-2737290
• 关键词: status; Athens; its; culture; Hellenistic

My research proposal is a study of the cultural role of Athens in the Hellenistic period (c. 300-100 BC). From c.480 to c.320 BC, Athens had dominated Greek culture; Macedonian conquests massively expanded the Greek world and shifted cultural centres. This project aims to investigate the afterlife of Athenian cultural dominance, to see whether Athenian artefacts and literature faded from view, became ossified classics or maintained contemporary importance. The history of Athens as an ideal in the early Hellenistic period is increasingly attracting scholarly interest (Canevaro and Gray 2018). My contribution to this field will be a detailed study of the dynamics governing engagement with Athenian culture. This includes the cultural self-representation of Athens and how this was received by the wider Greek world, especially in the context of the new geographical extension of Greek political power in this period. In the Hellenistic period rhetoric became central to education in Greek cities and spread to new geographical areas, raising questions about innovation and the traditions of Athenian oratory. First-century writers enshrine Athens as the pinnacle of oratory, and construct a narrative of post-classical decline in Asia (Dionysius of Halicarnassus Or.1), and there were significant changes in rhetorical style. I will investigate how innovations relate to interest in Attic traditions and the widespread interaction with Demosthenes' speeches in this period. Fragments from the rhetoricians Hybreas and Hegesias display innovation in their use of prose rhythm and word play. I will gather more inscriptional evidence, building on the work on prose rhythm in the aretalogy of Isis from Maroneia (Papanikolaou 2009), and the monument of Antiochus I of Commagene. There was also engagement with fourth-century Athenian rhetoric. Cleochares wrote the oldest attested work on Demosthenes in the third century, while two third-century papyri record rhetorical declamations showing careful engagement with Demosthenic style (Canevaro 2018). Further research is necessary to evaluate what this engagement signified-whether it was simply used at early stages of rhetorical training or whether claiming connections with Attic orators, as the third-century orator Hegesias did (Cicero, Orator 226), was important for professionals.In the context of the geographical expansion of theatrical practices, the important question for my project is the place of Athenian drama, particularly in relation to two new trends: re-performance of old plays and the popularity of 'New Comedy' (Lightfoot 2002; Konstan 2018). I will be asking what the place of Athens was in the production of tragedy. Athens' contemporary cultural relevance through New Comedy will be evaluated through its influence on poets such as Herodas, Theocritus and Asclepiades and artistic representations of the plays. Beyond the texts, I hope to investigate the development of theatrical practices through the archaeological evidence for the spread of theatres (Csapo and Wilson 2020). Inscriptions illuminate contemporary practices such as the new guilds of the Artists of Dionysus and re-performance of old plays. For example, an inscription from Tanagra c.85 BC records the different financial value of prizes for different kinds of performances, giving us an insight into the cultural capital of old tragedies and comedies alongside new compositions (SEG 19, 335).The cultural significance of Athens as the centre of philosophical study in this period will also be an important area of research. Aside from an awareness of the important historical tradition of philosophy in Athens, especially in the figures of Plato and Socrates (Long 1988 and 2006), Hellenistic Athens continued to attract the most significant philosophers. The philosophies of schools established in this period, such as Stoicism and Epicureanism, came to dominate philosophical debate and permeate non-philosophical literature (Ha

我的研究计划是研究雅典在希腊化时期（公元前300-100年）的文化角色。从480年到320年公元前，雅典统治了希腊文化；马其顿的征服极大地扩展了希腊世界，转移了文化中心。该项目旨在调查雅典文化主导地位的来世，看看雅典的文物和文学是否从人们的视野中消失，成为僵化的经典或保持当代重要性。作为早期希腊化时期理想的雅典的历史越来越吸引学者的兴趣（Canevaro和Gray， 2018）。我对这一领域的贡献将是详细研究与雅典文化接触的动态。这包括雅典的文化自我表现，以及它如何被更广泛的希腊世界所接受，特别是在这一时期希腊政治权力的新地理扩张的背景下。在希腊化时期，修辞学成为希腊城市教育的核心，并传播到新的地理区域，引发了关于创新和雅典演讲传统的问题。一世纪的作家将雅典奉为演讲的顶峰，并构建了亚洲后古典衰落的叙事（Dionysius of Halicarnassus Or.1），修辞风格也发生了重大变化。我将研究创新是如何与对阿提卡传统的兴趣以及与德摩斯梯尼在这一时期的演讲的广泛互动联系起来的。修辞学家海布里阿斯和希格西亚斯的片段在散文节奏和文字游戏的运用上显示出创新。我将收集更多的铭文证据，建立在马罗尼亚的伊希斯（Papanikolaou 2009）的散文韵律的研究基础上，以及科马吉纳的安条克一世的纪念碑。还涉及到四世纪雅典的修辞。Cleochares在三世纪写了关于德摩斯梯尼的最古老的经证实的作品，而两份三世纪的纸莎草纸记录了对德摩斯梯尼风格的精心描述（Canevaro 2018）。进一步的研究是必要的，以评估这种接触意味着什么——它是否只是在修辞训练的早期阶段使用，或者是否像三世纪的演说家Hegesias（西塞罗，orator 226）所做的那样，声称与阿提卡演说家有联系，对专业人士来说很重要。在戏剧实践的地理扩张背景下，我的项目的重要问题是雅典戏剧的位置，特别是与两种新趋势有关：旧戏剧的重新演出和“新喜剧”的流行（Lightfoot 2002; Konstan 2018）。我会问雅典在悲剧的产生中所处的位置。新喜剧对雅典当代文化的影响将通过它对希罗达斯、泰奥克里托斯和阿斯克勒庇德斯等诗人的影响以及戏剧的艺术表现来评估。除了文本之外，我希望通过戏剧传播的考古证据来研究戏剧实践的发展（Csapo和Wilson 2020）。铭文阐明了当代的实践，如新的狄俄尼索斯艺术家行会和旧戏剧的重新演出。例如，85年塔纳格拉的铭文BC记录了不同类型表演的奖金的不同经济价值，使我们深入了解了旧悲剧和喜剧与新作品的文化资本（SEG 19,335）。雅典作为这一时期哲学研究中心的文化意义也将是一个重要的研究领域。除了意识到雅典哲学的重要历史传统，特别是柏拉图和苏格拉底的人物（Long 1988和2006），希腊化的雅典继续吸引着最重要的哲学家。这一时期建立的学派哲学，如斯多葛主义和伊壁鸠鲁主义，开始主导哲学辩论并渗透到非哲学文学中(哈