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
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Page 21
... plays of Aristophanes foreign peoples do not feature centrally. Rather they appear in brief cameos such as the Scythian archer scene in the Thesmophoriazousae 24 or the longawaited return of ambassadors from Persia in the Acharnians, in ...
... plays of Aristophanes foreign peoples do not feature centrally. Rather they appear in brief cameos such as the Scythian archer scene in the Thesmophoriazousae 24 or the longawaited return of ambassadors from Persia in the Acharnians, in ...
Page 38
... play a role in the historical narrative, since Egypt and Scythia are the scenes of the two great Persian projects which come between Cyrus' creation of the Persian empire and Xerxes' invasion of Greece: the expeditions of Cambyses and ...
... play a role in the historical narrative, since Egypt and Scythia are the scenes of the two great Persian projects which come between Cyrus' creation of the Persian empire and Xerxes' invasion of Greece: the expeditions of Cambyses and ...
Page 41
... playing, and retail trade” (1. 155. 4 καπηλευ ́ειν). (Herodotus elsewhere records that the Lydians themselves invented ... play in the four generations of the Persian monarchy, which provide the Histories with an integrating chronology ...
... playing, and retail trade” (1. 155. 4 καπηλευ ́ειν). (Herodotus elsewhere records that the Lydians themselves invented ... play in the four generations of the Persian monarchy, which provide the Histories with an integrating chronology ...
Page 50
... plays which make up a major part of this festival could be seen as offering a profoundly questioning attitude towards what might be called fifth-century Athenian democratic polis ideology. One play which seems to fit uneasily into that ...
... plays which make up a major part of this festival could be seen as offering a profoundly questioning attitude towards what might be called fifth-century Athenian democratic polis ideology. One play which seems to fit uneasily into that ...
Page 51
... play, however, and critics have been led to describe it as 'satire' or even Schadenfreude [malicious joy].6 The ... Playing the Other: theater, theatricality and the feminine in Greek drama', Representations xi (1985) 63–94. 4 See, for ...
... play, however, and critics have been led to describe it as 'satire' or even Schadenfreude [malicious joy].6 The ... Playing the Other: theater, theatricality and the feminine in Greek drama', Representations xi (1985) 63–94. 4 See, for ...
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