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Body, Dress, and Identity in Ancient Greece by Mireille M. Lee

By Mireille M. Lee

This is often the 1st basic monograph on historic Greek costume in English to be released in additional than a century. by means of utilising sleek gown concept to the traditional facts, this publication reconstructs the social meanings hooked up to the dressed physique in old Greece. while many students have occupied with person points of historical Greek costume, from the views of literary, visible, and archaeological resources, this quantity synthesizes the varied facts and provides clean insights into this crucial element of historic society

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Extra resources for Body, Dress, and Identity in Ancient Greece

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The first volume defines specific garment types; the second considers the appearance of particular garments diachronically as they are depicted in the monuments. 5). Her commentary is almost purely descriptive, 16 Body, Dr e s s , a n d Id e n t i t y i n A n c i e n t G r e e c e with only occasional reference to earlier scholarship or to the ancient texts. Although Bieber’s studies proved eminently useful for scholars in their identification of the garments depicted in Greek art (her books are lavishly illustrated with actual monuments and objects rather than simplified line drawings), her work generally neglects questions of context and meaning.

As will be seen throughout this book, dress was an essential means of constructing, maintaining, and negotiating these categories. Since dress practices are learned by means of socialization, I have emphasized the distinct social categories experienced by both boys and girls as they matured into adults. Finally, I consider how modern theoretical perspectives on the body can help us to understand bodies in antiquity. Throughout this chapter, I have focused on the dynamic relationship between the body and dress as a foundation for the remainder of this study.

70. ©Picture collection, New York Public Library, Astor, Lenox and Tilden Foundations. of ancient Greek dress were now lavishly illustrated, in order to assist artists in their renderings of ancient subjects. 12 Anne Claude Philippe, Comte de Caylus de Tubières (1692–1765), an avid collector of antiquities and patron of archaeology, published several volumes of ancient sculpture and painting. 14 Though less erudite than the works of Montfaucon and Winckelmann, such publications made the visual evidence accessible to a broad audience.

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