Papers by Catherine Keesling
Early Hellenistic Portraiture: Image, Style, Context, 2007
Estudios de epigrafia griega/Studies on Greek Epigraphy, 2009
Name forms used on fifth-century B.C. ostraka found in the Kerameikos and the Athenian Agora are ... more Name forms used on fifth-century B.C. ostraka found in the Kerameikos and the Athenian Agora are compared with those used on dedications inscribed on stone from Athens dating to the Classical period. The ostraka show an overwhelming preference for combining the candidate's name with a patronymic, a demotic, or both; this makes sense given the problem of name duplication in Athenian society and the corresponding need to identify candidates clearly. Yet, even in the half century after Kleisthenes' reforms (ca. 500-450 B.C.), a considerable number of dedicators continued to inscribe their offerings with their names only: this proves true both of dedications from the Athenian Acropolis dated to the fifth century and the fourth-century dedications of the Athenian Asklepieion. Dedications feature name forms responding to a variety of concerns, some of them surely personal, and show an essential inconsistency. An appendix gives for the first time a list of 133 complete names found on Acropolis dedications dating between ca. 600 and ca. 300 B.C.
Cities Called Athens, edited by Daly and Riccardi, 2014
Image, Text, Stone
A statue standing on an inscribed base: we take this combination of two different media for grant... more A statue standing on an inscribed base: we take this combination of two different media for granted, first as an artefact of Greek culture and second as a legacy from Greco-Roman antiquity, but it was far from inevitable.1 Though it is difficult to explain where and when this format originated, by the end of the Archaic period it was ubiquitous in the Greek world. The practice of inscribing texts on the bodies of freestanding marble statues, common on Samos and in Ionia in the Archaic period, proved to be an evolutionary dead end.2 The separately-produced statue base as a bearer of inscribed text, -in all its shapes, types, and forms, -won out.3 Archaic votive statues -whatever they looked like and whomever they represented -functioned as agalmata pleasing to their divine recipients, a claim frequently made explicit in the inscriptions on statue bases.4 The typical "X ἀνέθηκε(ν)" votive text, with its strong generic markers, can be viewed as an artefact of the oral and
Epigraphy of Appropriation: Retrospective Signatures of Greek Sculptors in the Roman World
Reuse and Renovation in Roman Material Culture
The Iconography of Sculptured Statue Bases in the Archaic and Classical Periods. By Angeliki Kosmopoulou
American Journal of Archaeology
Nathan Arrington, Ashes, Images and Memories: The Presence of the War Dead in Fifth-Century Athens. Oxford: Oxford University Press, 2015. Pp. x + 349. Cloth (ISBN 978-0-19-936907-2) $60.00
L’Acropole d’Athénes: Monuments, cultes et histoire du sanctuaire d’Athéna Polias by Bernard Holtzmann (review)
The Hermolykos/Kresilas base and the date of Kresilas of Kydonia
Homonyms in Greek Sculptors’ Signatures: The Case of Boëthos
From Document to History
Ancient Greek Portrait Sculpture: Contexts, Subjects, and Styles (Book Review)
American Journal of Archaeology, 2008
Hesperia: The Journal of the American School of Classical Studies at Athens, 2012
The journal is also a member of CrossRef. The American School of Classical Studies at Athens is a... more The journal is also a member of CrossRef. The American School of Classical Studies at Athens is a research and teaching institution dedicated to the advanced study of the archaeology, art, history, philosophy, language, and literature of Greece and the Greek world. Established in 1881 by a consortium of nine American universities, the School now serves graduate students and scholars from more than 180 affiliated colleges and universities, acting as a base for research and study in Greece. As part of its mission, the School directs on going excavations in the Athenian Agora and at Corinth and sponsors all other American-led excavations and surveys on Greek soil. It is the official link between American archaeologists and classicists and the Archaeological Service of the Greek Ministry of Culture and, as such, is dedicated to the wise management of cultural resources and to the dissemination of knowledge of the classical world. Inquiries about programs or membership in the School should be sent to the
Lettered Attica: A Day of Attic Epigraphy, 2003
Women and War in Antiquity, edited by Jacqueline Fabre-Serris and Alison KeithJacqueline Fabre-Serris and Alison Keith, eds. Women and War in Antiquity. Johns Hopkins University Press. vii, 348. $55.00
University of Toronto Quarterly
Topografia di Atene: Sviluppo urbano e monumenti dalle origini al III secolo d. C, Tomo 1: Acropoli-Areopago-Tra Acropoli e Pnice (Scuola Archeologica Italiana di Atene 1) by E. GRECO
The Journal of Hellenic Studies, 2012
A lost bronze Athena signed by Kritios and Nesiotes (DAA 160)
From the Parts to the Whole Acta of the 13th Internatinal Bronze Congress Held at Cambridge Massachusetts May 28 June 1 1996 Vol 1 2002 Isbn 1887829393 Pags 69 74, 2002
Patrons of Athenian votive monuments of the Archaic and Classical periods: three studies
hesperia, 2005
Page 1. hesperia 74 (2005) Pages 395-42 6 PATRONS OF ATHENIAN VOTIVE MONUMENTS OF THE ARCHAIC AND... more Page 1. hesperia 74 (2005) Pages 395-42 6 PATRONS OF ATHENIAN VOTIVE MONUMENTS OF THE ARCHAIC AND CLASSICAL PERIODS Three Studies ABSTRACT In three studies of votive offerings, the author explores ...
Bodies and Boundaries in Graeco-Roman Antiquity, 2009
This paper examines ancient Greek embodiments of animals in sculpture and their afterlives in the... more This paper examines ancient Greek embodiments of animals in sculpture and their afterlives in the Roman imperial period. Statues of animals, both lifesize and lifelike, were prototypical votive and funerary monuments, characteristic of the Classical period (ca. 480-323 B.C.). Lions, bulls, and other animals were dedicated to the gods in their sanctuaries as ἀγάλµατα (pleasing gifts), as emblems of the identities of their divine recipients , and as perpetual sacrificial victims. The most famous of these statues in antiquity was Myron's cow, a bronze statue that originally stood on the Athenian Acropolis, but was later removed to Rome. Though representations of animal bodies could not be mistaken for human portraits, many were later reinterpreted as "portraits" of animals that had benefited humans by their virtuous deeds. A principal example is Pausanias' story about a bronze bull dedicated by the people of Corcyra at Delphi to represent the bull that had miraculously led them to a gigantic tuna catch (10.9.3-4). The stories generated by animal statues are treated by Pausanias and other authors of the Second So-phistic as moralising exempla, a typical feature of Roman discourse in this period. While the accretion of oral traditions over time to earlier animal statues never challenged the literal boundary between animal bodies and human ones, earlier monuments were reimagined as products of mainstream Hellenistic and Roman portrait culture.
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Papers by Catherine Keesling