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aboutanancientenquiry · 3 years ago

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Athenian Political Art: Eirene (Peace)

”Eirene (Peace) ·

Εἰρήνη

Read about the evidence Hesiod (Hes. Th.). Bacchylides (Bacchyl. 14). Pindar (Pind. O. 9). Pindar (Pind. O. 13). Discussion: Hesiod regarded Eirene, Eunomia (Good Order), and Dike (Justice) as the Horai (Seasons), daughters of Themis (Law) (Hes. Th. 901-902). Fifth century poets followed this genealogy (e.g., Bacchyl. 14.59 and Pind. O. 9.22-24, 13.6-8). In Persai, delivered at Athens after 408, Timotheos of Miletos prays for Apollo to send Eirene and Eunomia to relieve the populace (of Athens?) (Timoth. Pers. fr. 791.240 Page, PMG). Eirene presumably represented the harvest season, and it is thus no surprise that she appears with her Aristophanic companion, Opora (Harvest, Autumn) (see Aristophanes’ Peace), exclusively in the circle of Dionysos on Attic vases from the last third of the fifth century. Eirene also appears on a fragmentary altar at Brauron, dating to the early fourth century, on which she joins several other figures, including Eunomia (or Theoria), in a Dionysiac procession [3]. Otherwise Eirene’s role as one of the Seasons is virtually ignored. Erika Simon has tentatively identified the seated woman surrounded by three dancing women, on the East frieze of the Temple of Athena Nike on the Acropolis (after 421), as Themis with the Horai—Dike, Eirene, and Eunomia (see LIMC, 3, 703-704 s.v. “Eirene” no. 9). The figures are so fragmentary, however, that it is impossible to identify them with any certainty. The absence of comparable representations of this particular grouping of the Horai in Classical art makes this identification even more tenuous.

Read about the evidence Plutarch (Plut. Cim.).

It comes as no surprise that the personification of Eirene temporarily disappears from extant sources after 400: the agreements made at the end of the Peloponnesian War neither brought a lasting peace to the Greeks nor immediate hope for peace. When she returns, in the form of a Kephisodotos’ statue of Eirene and Ploutos (Peace and Wealth) [4], Eirene is still a fertility deity, but no longer a maenad; she is rather presented as the mature mother or nurse of (agricultural) wealth. The evidence for Eirene’s worship at Athens before the fourth century is limited to Plutarch’s attestation of an altar dedicated to her after the Battle of the Eurymedon (467) (Plut. Cim. 13.6). As Alan Shapiro suggests, it is likely that Plutarch confused the Battle of the Eurymedon with Timotheos’ peace of 375/4, when both the altar and Kephisodotos’ statue would have been put up to commemorate a peace treaty with Sparta (Shapiro 1993, 45).

Examples

Vienna IV 1024: a calyx krater attributed to the Dinos Painter, ca. 420-410, with representations of Eirene, labelled ΕΙΡΗΝΗ and Opora. A pelike, once in Paris (Raoul-Rochette Collection), attributed to the Group of Naples 3235, ca. 410-400, with representations of Eirene, labelled ΙΡΗΝΗ and Pannychis (All-night Revel) (ARV2, 1316.3; LIMC, 7, 171-72 s.v. “Pannychia,” “Pannychis” no. 4). Brauron 1170: a fragmentary round altar or statue base, ca. 400, with representations of Eirene, labelled ΕΙΡΗΝΗ and perhaps Eunomia or Theoria (Festival), and Opora (Harvest, Autumn), probably in a Dionysiac procession (images of the altar and a detail of Eirene). Eirene and Ploutos type: a free-standing statue (lost, but known from several painted copies and sculpted copies, such as that in Munich, detail and full figure shown above), erected between the Tholos and the Temple of Ares, in the Agora, Athens, between 374 and 371, of Eirene holding the baby Ploutos, by Kephisodotos of Athens (Paus. 1.8.3; see also Paus. 9.16.2). Statue of Eirene (now lost) in the Prytaneion, in the Agora of Athens (Paus. 1.18.3).”

Source: Amy C. Smith, “Athenian Political Art from the Fifth and Fourth Centuries BCE: Images of Political Personifications,” in C.W. Blackwell, ed., Dēmos: Classical Athenian Democracy (A. Mahoney and R. Scaife, edd., The Stoa: a consortium for electronic publication in the humanities [www.stoa.org]) edition of January 18 2003.

https://www.stoa.org/demos/article_personifications@page=all&greekEncoding=UnicodeC.html

Eirene (Peace) bearing Plutus (Wealth), Roman copy after a Greek votive statue by Kephisodotos (ca. 370 BC) which stood on the agora in Athens. Currently at the museum of Munich. Source: https://commons.wikimedia.org/wiki/File:Eirene_Ploutos_Glyptothek_Munich_219_n4.jpg

#Athens #ancient greek art #eirene #peace

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thebookbud · 5 years ago

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It Calls From the Forest

A BookBud Review

By Collected Authors

Emma K. Leadley, D.R. Smith, E.E.W. Christman, Clint Foster, Dale Drake, C.W. Blackwell, Michael Subjack, Holley Conetto, G. Allen Wilbanks, Michael D. Nadeau, Tim Mendees, Elizabeth Nettleton, T.S. Hurt, N.M. Brown, Craig Crawford, M.A. Smith, Matthew A. St. Cyr, Greg Hunter, Jason Holden, Evan M. Elgin, Mark Towse, Thomas Wake, Brian Duncan

Finished 05-10-2020

Genre: Horror Anthology

Basic Plot: Twenty-four original collected short horror stories.

Notable Quote(s):

“In the end we��re no more civilized than any other apex predator - we’re just better at hiding it.”

“I’ve always been a great admirer of the nature-based writings of John Muir, and even though my job and family life pretty much relegated me to a suburban existence the Von Brunner Woods, in all of its natural and rustic glory, always stirred something of deep reverence inside me.”

Overall Rating: ⭐⭐⭐⭐⭐

Readability: 5/5

Plot Interest: 5/5

Creativity: 4/5

Disclaimer: I received an advance review copy for free, and I am leaving this review voluntarily.

I sometimes struggle reading too much within my favorite genres in finding originality and reading a story that feels fresh and really intrigues me again in a new way. A lot of the time while I still enjoy horror overall, I find myself not fearful or even suspenseful during my reading. This particular horror based anthology was a huge success for achieving just the opposite. Each author brought something peculiar to each story that really made it fun and exciting to read. At certain points it felt like I had never read anything like it. Each author had their own style but all the stories had this overall unknown foreboding to them that just made them all feel so eerie. I don’t think any of the stories were overall mind blowing and genre shattering but they were so fun, so creepy and so thoughtful that it really was a pleasure to experience again.

I gave it a 5 out of 5. I have to give credit to these authors and their chosen format. I think short stories can really be useful in horror, giving you no time to calm down once it starts, pulling you rapidly into fear and craziness, and reading it this way can really put you on edge in my opinion. This set of twenty-four stories took that format, gave you sharp stories and creepy scenes that really work well in partnership together. If you want to read something extremely quick paced with a lot of fun work with your imagination and really holds true to the unknown and animalistic qualities of the world being such a fear inducing experience, this is absolutely a read to check out.

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#It Calls From the Forest #Collected Authors #BookSirens #Anthologies #Book Review #Reviews #Personal

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marshacook · 2 years ago

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Great show!

#horror #anthology #podcast #new orleans #gothic #anne rice

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talesofthefrontier · 3 years ago

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Shadows At Dawn Reprint Goes Live

Every world starts with a simple idea.

The Tales Of The Frontier universe began in 2016 with a short story called Shadows At Dawn about two cowboys roaming a dark fantasy landscape.

The publisher who took a chance on this short story was Aurelia Leo and I wanted to thank them again for choosing to republish the story in a new anthology.

Uchronia: An Anthology Of Alternate Histories & Alternative Worlds is a collection of weird and wonderful stories from writers who think differently and have the balls to put themselves out there (my blurb)

The official blurb is:

Uchronia: An Anthology of Alternate Histories & Alternate Worlds features twenty cosmic, uncanny, and macabre fantasy and science fiction stories.

A marine navigates close quarters in his wheelchair and the threat of joblessness due to mechanical men. Gremlins battle a bounty huntress in the Weird Wild West. When the Soviet Union invades Mexico, a U.S.-Mexico war veteran rallies Samalayuca refinery workers to fight back. Onboard the Current of Eagles, a disabled Native-American pilot confronts prejudice and radio warfare. You are a lone radio jockey after the apocalypse.

Curated by award-winning editor Zelda Knight, this collection of reprints will transport readers to diverse retrofutures and realms beyond their imagination.

In the Festival Tent” © Dennis Mombauer ✓ (Jeremy Lloyd)

“Heartless” © Krystal Claxton

“The Wizard of the Woods” © Tyler Bourassa

“In the Shadow of Fire” © H.R. Boldwood ✓(Jeremy Lloyd)

“The Tribute” © Rhidian Brenig Jones ✓✓ (Julious Z. Dyer)

“Scripto Inferior” © Victor H. Rodriquez ✓ (Jeremy Lloyd)

“Shadows at Dawn” © Jamie Ryder ✓(Jeremy Lloyd)

“End of the World Talk Show” © Rachel Brittain

“Tickie-Tockers” © David Castlewitz

“A Better Life” © Lawrence Dagstine

“Hell on the High Plains” © C.W. Blackwell ✓ (S. C. Childs)

“The Revolution Engine” © Pedro Iniguez

“A Dusty Arrival” © KC Grifant ✓ (S. C. Childs)

“A Slow Inoculation” © Dale Carothers

“A Song to Charm the Beasts” © Wendy Nikel ✓(S. C. Childs)

“The Last Night of Pangea” © Emma Culla ✓ (S. C. Childs)

“Los Lunas” © Nicole Givens Kurtz

“The Colossus at Blue Sands” © Gregory L. Norris

“A Fifth World” © Matthew Maxwell

“The Passion of Her Sleep” © T.C. Mill ✓✓ (Nyamukandawiri)

You can purchase the anthology through the following links:

Amazon

Smashwords

#horror #writing #anthology #short stories #reading #tales of the frontier #weird west #horror community #writing community

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pauldbrazill · 4 years ago

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Coming Through In Waves - Crime Fiction Inspired By Pink Floyd

Coming Through In Waves – Crime Fiction Inspired By Pink Floyd

COMING THROUGH IN WAVES Edited by T. Fox Dunham.

With a foreword by T. Fox Dunham

Come in Number 51 – Your Time Is UP – dbschlosser, Nobody Home – Joseph S. Walker, Money – Renee Asher Pickup, Heels on the Highway – Linda Slater, Heart Beat, Pig Meat – Kenneth W. Cain, Jugband Blues – C.W. Blackwell, Julia Dream – Morgan Sylvia, Obscured by Clouds – Allan Rozinski, One of these Days – Jim…

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animalmother16 · 6 years ago

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#pulp fiction #pulp art #pulp magazine #CRIME HORROR #horror #crime

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itsworn · 6 years ago

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Celebrating the Anniversary of the Ford Model A at 2019 Grand National Roadster Show

Most Deluxe readers are familiar with the Grand National Roadster Show and its iconic America’s Most Beautiful Roadster award. While the AMBR contenders usually get the most attention, for the last dozen years the GNRS has also devoted a hall to exhibits with a specific theme. This show-within-a-show started in 2007 with the Deuce’s 75th Anniversary, undoubtedly a highlight in the show’s nearly seven-decade history. Many others have followed since, such as Customs Then and Now, Tribute to the Bonneville Salt Flats, and last year’s muscle car display. For 2019, Building No. 9 was solely devoted to 1928-1931 Ford automobiles, aka the Model A.

The unjudged exhibition, sponsored by C.W. Moss Ford Parts, was the brainstorm of Brian Bauer and Karpo Murkijanian, two individuals well-known in our scene. Brian has owned his street-driven A roadster since the 1970s, a survivor that competed in the first NHRA Nationals at Great Bend, Kansas, in 1955, before setting numerous track records, including at Lions. Karpo has the same affinity for drag race history, having restored the Mondello & Matsubara AA/Fuel Altered Fiat Topolino with Pete Eastwood, as it looked 50 years ago.

Brian and Karpo worked up an extensive list of potential guests, which they combined to create the most impressive group of Model As ever assembled. The job wasn’t easy by any stretch, since they had to track down owners of some of their wish-list cars. Though they could not locate all of them, they didn’t have to worry about filling any empty spots considering their long waiting list. Ultimately, they had 107 spots available, and 107 cars showed up. The place oozed with hot rod history, from past AMBR winners to magazine cover cars. It was a sight to behold.

Model As far as the eye can see, representing the various versions offered by Ford between late 1927 and the end of 1931. With close to 5 million produced worldwide, no wonder the car has become a hot rod favorite to this day.

Entering the hall, visitors were greeted by a group of former AMBR champions. Many will recognize the Bill NieKamp blue roadster, which won the first competition in 1950. But who remembers its neighbor? Jerry Woodward built and still owns the Thunder Rod, which has not changed much since its AMBR victory in 1957, though he added the supercharger later.

Based on a ’29 roadster channeled 5 inches, Chuck Krikorian’s Emperor won the AMBR competition in 1960, with help from George Barris. Among the unique touches, note the nose piece by Barris Kustom and the 406ci ’57 Cadillac V8 with six carbs. The Gejeian family currently owns this piece of show-car history.

Drag racing enthusiasts associate Rich Guasco with the famous Pure Hell, a nasty roadster that he drove to many Fuel Altered victories during the 1960s. He also owns a piece of hot rodding history in the shape of this Model A, which he started driving it at age 13 in the 1950s. It won the AMBR competition in 1961 and graced the covers of Speed Mechanics, Mar. 1958, and HRD, May 2013.

Next to Guasco’s roadster is John Corno’s AMBR winner, which Russ Meeks built with a tilt body (lengthened 4 inches) that covered a ’68 Olds Toronado V8. More alterations came in 1986, such as the hand-built stainless steel chassis. Oregon residents Roman and Judy Baszniak currently own the famous roadster.

Bill Grant impressed the crowd with his ’28 roadster, aka the Muroc Roadster, when he and builders Terry and David Stoker entered the 2017 AMBR field. To the surprise of many, it retains stock (but mega-detailed) mechanical brakes, together with a seriously hopped-up ’32 Model B engine. It now comes equipped with a vintage Miller overhead conversion and Zephyr intake manifold. The car’s full story was in our July 2017 issue.

Galpin Speed Shop displayed the Bill Likes ’29 roadster, also known as the Edelbrock Special. Bill worked as Edelbrock’s shop manager during the postwar years. Back in 1951, the dry-lake-prepped Model A on a ’32 frame posted a speed of 153 mph in the B class.

Tom Lieb is the owner of Scat Enterprises, which has been specializing in aftermarket crankshafts for decades. He bought his well-known ’29 roadster in 1958. He had Pete Chapouris’ So-Cal Speed Shop redo the car in 2007, featuring a cab stretched 3 inches, and entered the AMBR battle with help from Jimmy Shine in 2016. Motivation comes from a ’49 59AB flathead.

Building 9 housed a bunch of recently built hot rods taking clues from our scene’s early days. Take Rudi Hillebrand’s red ’31 coupe for instance. It runs a 268ci ’50 Ford flathead V8 fitted with Navarro heads and an Eddie Meyer Hollywood intake manifold. Next to it sits the mildly chopped coupe owned by Mike Herman of H&H fame, which gained some oomph courtesy of a McCulloch supercharger.

Burbank Choppers Car Club member Verne Hammond unearthed quite a survivor during one of his numerous visits to the Pomona Swap Meet, in the shape of the Ken Blackwell Street Jewel built in 1958-1959. Based on a ’29 roadster, it appeared among a few other cars on the cover of HOT ROD, Nov. 1961. The Olds-powered roadster was a cover car again in our Nov. 2014 issue (“Street Jewel Shines Again”).

Note the unusual front fender treatment on Rob Dehoney’s ’29 roadster. Rob belonged to a group of young fellas who hill climbed in San Francisco in the 1930s, and the car has remained in the same family since. Other uncommon characteristics include late ’30s Plymouth bumpers and grille, plus an Auburn windshield and dash.

The Tom Morris ’29 roadster was built in 1948, then raced at the dry lakes and dragstrips, before being parked in 1955. This jalopy is the real deal, with its ’48 Ford flathead, ’40 Ford trans, Tom Morris-made cast quick-change rear, and Crestliner steering wheel. Incidentally, it ran 110 mph at Bonneville in 1953 in the C Roadster class. Our cover story on the car, “Renaissance Man,” ran in the Nov. 2018 issue.

Jay Dean of Nostalgia Ranch in California had two of his hot rods on exhibit at GNRS, a trophy-winning ’32 five-window coupe shown in the Suede Palace and this neat ’28 Model A painted ’32 Alfa Romeo Red. Sitting on a custom frame, the chopped and channeled roadster relies on a 365-horse 327ci GM engine.

Although it never appeared in the TV show, they call it the Dragnet Roadster because Jack Webb posed in the company of the vehicle, then owned by Tom Pollard, on a HOT ROD cover in 1955. Richard Loe is the current caretaker of the relic. It hasn’t changed much since its flamed 1968 repaint.

Longtime lake racer Jim Travis broke a couple of records at Bonneville with his ’29 roadster, specifically 124 mph in X/GR (1969) and 113 mph in X/STR (1970). And yes, the L.A. Roadsters club member still owns the car today, which he drove daily for years. The triple-carbed 297ci ’48 Merc engine received a Clay Smith cam. Behind it reside a ’39 Ford trans and a ’48 Ford rearend.

Billy Crewl became good friends with Jack Calori, who owned a distinctive Model A recognizable thanks to its two-piece windshield and upswept exhaust pipes. This relationship led Billy to create a tribute of the roadster in question, seen here. It uses a ’28 body bolted to a ’32 Ford chassis, a ’46 Merc motor, and a deep, owner-applied black paint job.

Many people had their eyes on James Bobowski’s ’29 roadster from New Jersey when he entered the 2018 AMBR competition. Originally built by the Ayala Brothers at Gil’s Auto Body in 1950, the now restored roadster did not win. Interestingly, it had already gained recognition in the 1950s, having raced at the Bonneville Nationals (1951) and having appeared in Hop Up magazine (1952) as well as the movie The Lively Set.

Clark Crump put his Model A coupe on exhibit in the Four Ever Four Cylinder Club booth. Bob Kehoe, a respected Bonneville 200 MPH Club member, owned the vehicle for years. He bought it as a stocker in 1998 before hopping up the four-banger with an overhead conversion.

John Mumford has amassed an amazing collection of hot rods and customs over the years, such as Sam Barris’ ’49 Merc and the Ala Kart, seen in these pages as well. Add to the list this ’29 pickup with ’49 Cad V8 power, which was featured in HOT ROD, Apr. 1962, when the car was owned by David Dias. Great stance can be attributed in part to the frame being kicked up 5 1/2 inches at the rear.

Jim Jacobs created quite a commotion when he brush-painted his ’28 phaeton with friends during a 1987 Goodguys event. The car then shared the cover of Rod & Custom (Dec. 1988) with Pete Chapouris’ ’32 roadster known as Limefire. That red paint is still on the unrestored body today, though it has since been plastered with old cut-up HRM articles.

East Bay Speed & Custom beautifully handled the restoration of Mickey Himsl’s ’29 truck, which he has owned since the early 1960s. Some might even argue it’s better now, with additional chrome and details. It goes down the road courtesy of a 265ci ’48 Ford 59AB flathead mated to a ’39 Ford gearbox.

To put the Ala Kart into perspective, let’s just mention that AMT sold more than a million scale-model kits of the ’29-based truck. Winning the AMBR contest in 1958 and 1959 certainly helped put the vehicle on the map. Richard Peters collaborated with George Barris on this build, remembered for its futuristic appearance at the time, with ’57 Chrysler quad headlights molded into a custom nose. John Mumford is now the proud owner.

Bill Kenz’s Odd Rod, based on a ’31 truck, ran 140 mph at Bonneville in 1949. The July 1949 HOT ROD cover star consisted of two Model A frames welded together, plus two engines with two clutches connected with a custom driveshaft. Fellow Coloradan Mike Nicholas recreated this cool tribute.

The Chrisman family had drag racing legend Jack Chrisman’s ’29 sedan on exhibit. He raced it in the 1950s, with a flathead V8 and a 331ci Chrysler Hemi, before selling it in 1956. In 1998, the family got it back after it was in storage for 32 years. Jim Travis, whose yellow roadster can be seen in this article, restored the Tudor beautifully.

In January 1963, HOT ROD put a neat red ’29 Tudor on its cover, with owner Don Grant pulling the 265ci Corvette engine out. Don still drives it regularly 56 years later, although he has replaced the steel wheels and chrome caps with American Racing rims. The silver and black paint has been dressing the shell since 1972.

Running 159 mph with a ’29 Model A at Bonneville was no easy feat in 1954, but that’s what the William Brothers did, thanks in part to a healthy 241ci Hemi V8. The roadster received plenty of attention from the media, too, including HOT ROD, which featured it in the Dec. 1954 issue. The car went into storage in 1956 and remained untouched for 50 years, until Tom McIntyre saw fit to add the well-preserved roadster to his collection. The roadster is yet another HRD cover car, its tale told in “Common Ground,” Mar. 2018.

The Lambrose/Iacono team drag raced the ’29-based 99 Jr. from 1954 until 1957, using a derelict ex–dry lake roadster. Yet, unlike most builders who remained faithful to V8s at the time, they used a GMC six-cylinder fed by a 50/50 mix of alcohol and nitro, good for sub-11-second e.t.’s at about 125-130 mph. Neil O’Kane now owns and restored the roadster, which had only lost one race in three years of competition.

Tony Nancy has been known to produce topnotch drag cars, and his 22 Jr. is no exception. Weighing under 1,600 pounds, the ’29 roadster features a Kent Fuller chassis, mag wheels, and a supercharged Buick nailhead V8, netting 144 mph over the quarter-mile. Pennsylvania’s Ross Meyers has the Apr. 1960 HOT ROD cover car in his custody now.

Some visitors likely wondered what this ’32 coupe was doing in a sea of Model As. Well, look closely: This isn’t a Deuce but a ’31 coupe featuring more than 100 body alterations. It was parked next to a bone-stock Model A to display the work performed. Greg Zulim bought the vehicle in 1964 at age 14 and modified it over the years, including the installation of a ’58 Buick V8 with a 6-71 GMC blower.

“From Parade Wagon to Hot Rod in 4 Weeks” claimed a sign next to Scott Williams’ 1930 woody wagon from Minnesota. The treatment included a selection of traditional hot rod components, including a dropped axle, juice brakes, and Halibrand quick-change. The four-banger received a selection of cleverly picked period goodies as well, from the Weiand head and Cragar side cover to the Zephyr intake manifold and dual Strombergs.

Tom Leonardo displayed his ’29 Model A, originally built by John Athan in 1937 using a $7 roadster body and a $5.50 Deuce chassis. The car also participated in one of the last El Mirage races before WWII, where it ran 108 mph. Years later it appeared in the movie Loving You, driven by a young Elvis Presley.

The post Celebrating the Anniversary of the Ford Model A at 2019 Grand National Roadster Show appeared first on Hot Rod Network.

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