Greeks And BarbariansEdinburgh University Press, 2019 M07 30 - 288 pages How did the Greeks view foreign peoples? This book considers what the Greeks thought of foreigners and their religions, cultures and politics, and what these beliefs and opinions reveal about the Greeks. The Greeks were occasionally intrigued by the customs and religions of the many different peoples with whom they came into contact; more often they were disdainful or dismissive, tending to regard non-Greeks as at best inferior, and at worst as candidates for conquest and enslavement. Facing up to this less attractive aspect of the classical tradition is vital, Thomas Harrison argues, to seeing both what the ancient world was really like and the full nature of its legacy in the modern. In this book he brings together outstanding European and American scholarship to show the difference and complexity of Greek representations of foreign peoples - or barbarians, as the Greeks called them - and how these representations changed over time.The book looks first at the main sources: the Histories of Herodotus, Greek tragedy, and Athenian art. Part II examines how the Greeks distinguished themselves from barbarians through myth, language and religion. Part III considers Greek representations of two different barbarian peoples - the allegedly decadent and effeminate Persians, and the Egyptians, proverbial for their religious wisdom. In part IV three chapters trace the development of the Greek-barbarian antithesis in later history: in nineteenth-century scholarship, in Byzantine and modern Greece, and in western intellectual history.Of the twelve chapters six are published in English for the first time. The editor has provided an extensive general introduction, as well as introductions to the parts. The book contains two maps, a guide to further reading and an intellectual chronology. All passages of ancient languages are translated, and difficult terms are explained. |
From inside the book
Results 6-10 of 52
Page 8
... classical Athenian art (Ch. 4: Lissarrague). Part II then looks in more detail at a number of themes across a broader range of sources: the Greeks' myths of their own descent from the Egyptians and Phoenicians (Ch. 5: Hall), the issue ...
... classical Athenian art (Ch. 4: Lissarrague). Part II then looks in more detail at a number of themes across a broader range of sources: the Greeks' myths of their own descent from the Egyptians and Phoenicians (Ch. 5: Hall), the issue ...
Page 9
... classical period, from the Persian Wars to Alexander's conquest of the Persian empire. Part I concentrates on the evidence of the fifth century. For the more theoretical perspective of fourthcentury authors – Xenophon, Isocrates, Plato ...
... classical period, from the Persian Wars to Alexander's conquest of the Persian empire. Part I concentrates on the evidence of the fifth century. For the more theoretical perspective of fourthcentury authors – Xenophon, Isocrates, Plato ...
Page 13
... classical studies: the increasing influence of social anthropology,71 and of structuralism and post-structuralism;72 the rise of social and cultural 66 68 For which see Lewis, 'The Persepolis tablets'. 67 See below, introduction to Part ...
... classical studies: the increasing influence of social anthropology,71 and of structuralism and post-structuralism;72 the rise of social and cultural 66 68 For which see Lewis, 'The Persepolis tablets'. 67 See below, introduction to Part ...
Page 14
... classical culture;74 and an increasing self-consciousness within the discipline of classics; the revolutionary rewriting of Persian history since the early 1980s,75 and an increasing concentration on Herodotus, his subtlety as a ...
... classical culture;74 and an increasing self-consciousness within the discipline of classics; the revolutionary rewriting of Persian history since the early 1980s,75 and an increasing concentration on Herodotus, his subtlety as a ...
Page 18
... classical Athens, however, it has often been interpreted on the erroneous assumption that Aeschylus intended to give an accurate impression of the setting of his play – the court of the Persian king Xerxes at Susa – or that, when 7 8 4 ...
... classical Athens, however, it has often been interpreted on the erroneous assumption that Aeschylus intended to give an accurate impression of the setting of his play – the court of the Persian king Xerxes at Susa – or that, when 7 8 4 ...
Contents
1 | |
15 | |
PART II THEMES | 125 |
PART III PEOPLES | 187 |
PART IV OVERVIEWS | 229 |
Intellectual Chronology | 311 |
Guide to Further Reading | 313 |
Bibliography | 314 |
Index | 328 |
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Common terms and phrases
according Aeschylus ancient appears argument Asia Athenian Athens authors Barbarian become Cadmus called century classical common concept context contrast course culture customs dialect discussion divine early Egypt Egyptian empire especially ethnic Euripides evidence example existence fact fifth foreign further give gods Greece Greek Hall hand Hellenic Herodotus human idea identity important instance interest interpretation Isocrates Italy king land language later less linguistic matriarchy means mentioned myth nature never nomoi opposition oriental origin Paris particular period Persian Persian Wars Phoenician Plato play political possible present problem question reason refer regard relations religion Roman rule Scythians seems seen shows society sources speak speech story theory thought tradition tragedy turn University various whole women writing