Tag Archives: Grecia/Greece

Filmes e Arqueoloxía (III) Xasón e os Argonautas (1963):

Esta ten sido unha semana moi longa, así que ¿que mellor plan que outro filme de culto pra desfrutar unha tarde de domingo na casa? Tras A Furia dos Titáns e A Momia, retornamos to cinema en cor e ao traballo de Harryhausen no filme que el considerou selo seu mellor traballo, Xasón é os Argonautas.

Pra todos aqueles non familiarizados có mito, esta é a historia de Xasón, o lexítimo pero deposto príncipe de Iolcos, na súa procura do Vélaro de Ouro na fin do mundo, que neste tempo era a semi-mítica terra da Cólquida (que algúns investigares sitúan hoxe en Xeorxia). Esta aventura é coma un reencontro de estrelas do panteón mítico grego, incluíndo Herakles, Peleos, Butes, Cástor e Polideukes, Calais e Thetes, Meleagro, e a única femia do grupo, Atalanta. A tripulación varía con cada versión do mito, pero é claro que se trata da maior aventura dos mitos gregos antes da Guerra de Troia.

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Films and Archaeology (III) Jason and the Argonauts (1963):

This has been a very long week, so what a better plant than another cult film for Sunday afternoon at home? After Clash of Titans and The Mummy we return to colour and Harryhausen in the film he considered to be his best, Jason and the Argonauts.

For those of you not familiar with the myth, this is the story of Jason, rightful but deposed prince of Iolcos, on his quest to recover the Golden Fleece from the end of the world, which at that time was the semi-mythical land (now some scholars place n Georgia) of Cholquis. Well, his adventure and that of some of the most important heroes in Greece, such as Herakles, Peleos, Butes, Castor and Polydeuces, Calais and Thetes, Meleager and, the only woman of the crew, Atalanta. The crew members vary with each version of the myth, but it is clear this was an all-start adventure for the Greek heroes, and the most important common enterprise before the Trojan War.

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Atlantology, the Alternative facts of Archaeology

If you do not live isolated in the middle of nowhere, without access to any means of communication, which by the way it would be great, you are aware by now of this new concept from Trump’s cabinet to deal with criticism: the so-called alternative facts. And I am saying latest, no newest, because alternative facts have been around for a while.

Alternative facts are basically lies. Period. If your inauguration is thrice or more smaller than the inauguration of the former president, and your critics produce evidence from several sources to support this fact, you just provide alternative facts. You only need to say that your data indicates it was the best, the largest and all the superlatives Trump’s lack of dialectic usually throws on his discourse and, well that is all. You said so, and your facts, which you never show or share, support your point of view.

This blog was created to criticise these kind of attitudes in archaeology. If you revisit some of my earlier posts you will find a profound criticism on this current of anti-intellectualism that characterises our modern society; the use of the term “professorial” by some leading politicians in the past to confront the ivory tower scholars and to defend the interests of the “common guy” they, paradoxically, represent. So, I am sorry, I understand your fear, I want to help, but let me tell you something: this fight has been around for much longer than you think.

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A Música da Odisea de Homero

Parece que a miña entrada sobre o LibreOffice non vai rematar nunca, con tantos proxectos incribles coma hai na rede. Desta volta é a reconstrución musical de como a Odisea de Homero podería haber soado cando fora cantada no século VIII AEC. Alí é nada.

Fai algún tempo escribín unhas poucas liñas sobre a melodía grega máis antiga que foi preservada, o breve pero fermoso epitafio de Seikilos. Naquel texto mencionei as dificultades de reconstruír música antiga, e o erro inconsciente que facemos cando non nos decatamos de que a música non só estaba en todas partes, pero que, ademais, en moitos dos traballos literarios que temos preservados ata hoxe a música xogou un papel central que agora non apreciamos. É por esta razón que unha iniciativa coma esta por parte de Georg Danek da Universidade de Viena e Stefan Hagel da Academia de Ciencias Austríaca, é tan fascinante. Nos últimos anos teñen desenvolto unha técnica para cantar épica de Homero baseada en como tradicións orais similares foron cantadas, axustadas, por suposto, ás métricas preservadas na lírica grega.

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Homer’s Odyssey Music

It seems that my post on LibreOffice is never going to happen, with so many great projects floating around the web. This time it is a musical reconstruction of how Homer’s Odyssey might have sound when sung in the late 8th century BCE. Just that.

Some time ago I wrote a couple of lines on the oldest preserved Greek melody, the brief but beautiful epitaph of Seikilos. In that text I mentioned the difficulties of reconstructing ancient music, and the unconscious mistake we make when we do not realise that music was not only everywhere but that, actually, in many of the literary works we have preserved today music played a central rôle that we are missing completely.

It is for this reason that a initiative like this from Georg Danek of the University of Vienna and Stefan Hagel of the Austrian Academy of Sciences is so fascinating. They have developed in the last years a technique for singing Homeric epic based on how similar poems were sung in other epic traditions, and adjusted, of course, to the metrics preserved on Greek lyrics.

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