In Case the Squirrels in Your Area are Hungry …

The subject line is pretty much all the commentary this one needs, although I’m still trying to figure out how the subject of the talk mentioned connects to the info given in the last line:

An attempt to track down the mythical city of Atlantis – the perennial debate – will be made during a talk on Saturday that should attract the believers and the sceptics alike.

Delivered by medical historian Charles Savona-Ventura, Malta: Echoes Of Plato’s Island Atlantis is a review of the story of the destroyed city state and attempts to narrow down its location, correlating the Classical Atlantis texts to the archaeological, biogeographical and geological features of the Maltese-pelagic archipelago during the Copper Age period.

In his paper, Prof. Savona-Ventura maintains that “all the evidence seems to support the fact that some historical reality lies behind Plato’s story”, which traced the catastrophic event that affected the Mediterranean world.

The possible locality for Atlantis has been hotly debated and Prof. Savona-Venture says the problem lies with interpreting Plato’s description about “an island situated in front of the straits which are… called the Pillars of Hercules”. Today, many assume that these refer to the Straits of Gibraltar but Classical writers confirm their presence in the Gulf of Sidra, off the Northern coast of Africa, placing Plato’s island right in the middle of the Mediterranean, straddling two seas.

In his talk, the author points out that the ideal candidates for the remnants of Atlantis are the Maltese and Pelagian islands. He presents his research to prove the point, including geological and biogeographical evidence that suggests the central Mediterranean region south of Sicily was once composed of a large landmass.

Prof. Savona-Ventura explains how this landmass was broken up and submerged by a series of massive volcanic eruptions and tectonic movements, probably in the late centuries of the third millennium BC, leaving only fragments in the form of the Maltese archipelago and the Pelagian islands.

“A strong case can be further made to culturally associate these islands with Plato’s Atlantikos,” he says. In fact, his talk highlights that many features of Malta’s megalithic culture have close parallels to the culture attributed by Plato to “the Atlantoi of Atlantikos”.

The talk is being organised to raise funds to purchase a defibrillator for the Special Rescue Group’s ambulance. It will be held at the Dolmen Hotel in Buġibba at 7.30 p.m.

Cupid Cameo from the City of David

Not sure why I can’t find this up at the IAA site yet, so the Ha’aretz coverage seems to be the best right now:

Israeli archeologists unveiled a 2,000 year old semi-precious cameo bearing the image of Cupid on Monday, which the Israel Antiquities Authorities (IAA) said was among several items located in the City of David archeological area in Jerusalem’s Old City in the last 12 months.

The cameo, which will be displayed at the 11th Annual City of David Archaeology Conference scheduled to take place later this week, is 1 cm in length and 0.7 cm in width, and was discovered in the Givati Parking Lot Excavation, a part of the Jerusalem Walls National Park.

The excavation, according to an IAA statement, has been conducted by the organization under the direction of Dr. Doron Ben Ami and Yana Tchekhanovets and funded by the Ir David Foundation.

Dr. Doron Ben Ami, of the IAA, said that the cameo was “made from two layers of semi-precious onyx stone. The upper layer, into which the image of cupid is engraved is a striking blue color which contrasts with the dark brown background color of the lower layer.”

“The brown layer is the side of the cameo which would have been inserted into the round metal setting of a piece of jewelry, apparently an earring,” Ben Ami said, adding that the “cupid’s left hand is resting on an upside-down torch which symbolizes the cessation of life.”

According to Dr. Ben Ami, the “discovery, together with other important finds that we uncovered from this unusual large Roman structure at the City of David, contribute significantly to our understanding of the nature of Jerusalem’s Roman Period.””

The IAA statement added that the inlaid stone was of the “Eros in mourning” type, one of a group of visual motifs linked with the imagery of mourning practices.

Ha’aretz includes an excellent photo:

IAA via Ha'aretz

If you want to see a pile of cameos — many involving Eros/Cupid in various activities (not mourning, as far as I can tell), check this page out (scroll to the bottom) …

More coverage:

Citanda: Plato’s Pop Culture Problem

By way of captatio benevolentiae:

This fall, the U.S. Supreme Court will rule on a case that may have the unusual result of establishing a philosophical link between Arnold Schwarzenegger and Plato.

Classical Coronation Street?

Interesting item brought back by my spiders from a piece in the National marking the 50th anniversary of Coronation Street … inter alia:

In that sense, it doesn’t matter that the soap is set in a version of northern England where life can be slightly grim and unglamorous. Because once you’ve got past the accents (not, in truth, that difficult), Coronation Street isn’t about living in a fictional part of Greater Manchester, just as EastEnders isn’t a commentary on London life. These places are just the settings for stories that are as old as the hills.

This was the thrust of a recent BBC documentary on the links between Greek tragedy and soaps. The similarities were revealing; the presenter Natalie Haynes spoke to a writer who had based EastEnders storylines on Aeschylus’s Oresteia. Apparently, Haynes wrote on her blog, the BBC Writers’ Academy trains future generations of soap writers by giving them Aristotle’s Poetics to encourage them to think about time and place.

It’s not over-intellectualising soaps to make these comparisons; infanticide, patricide, dysfunctional families, suffering women … they’re all tropes of Greek tragedy and soap opera.

It’s a theme Corrie’s Jonathan Harvey has been keen to discuss recently, too. “There’s something inherently theatrical in soaps and they are like Greek tragedies,” he told The Daily Telegraph. “They have archetypes that are created again and again through different generations, and they have a chorus in other characters commenting on what happens.” […]

via: Fifty years of Coronation Street in two hours

If you’re very fast, you can listen to Natalie Haynes on the BBC on ‘OedipusEnders’ via Listen Again (but even if you don’t make it, the text summary is interesting) … I think Haynes’ blog post was this one from the Guardian

Bikini Girls Question

This one arose during my pondering the so-called ‘female gladiator lamp’ claim (see next post) and I asked on Twitter if anyone knew what this ‘bikini girl’ from Piazza Armerina was holding:

via wikipedia

… Max Sinclair and Liz Gloyn offered some suggestions with varying degrees of seriousness, but the most ‘reasonable’ (and one I’ve heard before) — that it’s some sort of umbrella really doesn’t fit in with the ‘program’ of the scene. Here’s the whole thing:

via wikipedia

… not sure why the photo is cut up … it’s practically stitchable. The scene is usually said to depict the ‘crowning of the victor’ but our bikini girl is standing between the person bestowing the crown and the one who apparently received it. Outside of the victrix, everyone else  is engaged in some sort of athletic activity and usually these women are taken to be exercising at the baths or something. But we do know of athletic events for women — we mentioned the Heraia a few days ago; sadly the Matthew Dillon article referenced therein doesn’t mention these particular female athletes. Kelly Olson’s article in Classical World from a few years ago (Roman Underwear Revisited, CW 96 (2003), 201-210 speculates that these ladies might be wearing the subligar, and that Martial describes a female athlete as subligata (208-209), so it seems reasonable that there might actually be a competition being depicted here. Indeed, I might be imagining things, but the victrix and the lady I’m wondering about seem to be engaged in a footrace in the register above … our lady seems to be complaining, perhaps, because in the upper register she appears to win, but she doesn’t get the palm frond and laurel. What does she get? Even if I am imagining the ‘narrative’ of this scene, I’d still like to know what the heck she’s holding … anyone know?