{"id":780,"date":"2022-01-23T17:44:28","date_gmt":"2022-01-23T17:44:28","guid":{"rendered":"https:\/\/www.upo.es\/investiga\/processionsandempire\/?p=780"},"modified":"2022-02-01T15:36:42","modified_gmt":"2022-02-01T15:36:42","slug":"demetrius-poliorketes-pompe-in-eretria","status":"publish","type":"post","link":"https:\/\/www.upo.es\/investiga\/processionsandempire\/demetrius-poliorketes-pompe-in-eretria\/","title":{"rendered":"Demetrius Poliorketes\u2019 pompe in Eretria"},"content":{"rendered":"\n

Demetrius Poliorketes\u2019 pompe in Eretria<\/h1>\n\n\n\n
TITLE:<\/strong> <\/td><\/tr>
Demetrius Poliorketes\u2019 pompe<\/em> in Eretria<\/td><\/tr>
DATE:<\/strong><\/td><\/tr>
294-288 BC<\/td><\/tr>
TEXT:<\/strong><\/td><\/tr>
IG<\/em> 12.9.207<\/a>

ANEZIRI, S. (2020): \u201dArtists of Dionysus: the first professional associations in the ancient Greek world\u201d. In: E. Stewart, E. Harris, & D. Lewis (Eds.), Skilled Labour and Professionalism in Ancient Greece and Rome<\/em> (pp. 293-312), Cambridge University Press, Cambridge, p. 117, n.13<\/a>
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EDITIONS<\/strong>\/TRANSLATIONS:<\/strong><\/td><\/tr>

<\/td><\/tr>
KEYWORDS:<\/strong><\/td><\/tr>
Words used to mean procession<\/strong>:<\/td><\/tr>
\u03c3\u03c5\u03bd\u03c0\u03bf\u03bd\u03c0\u03b5\u03cd\u03b5\u03b9\u03bd (sic) (l. 20, vb. \u03c3\u03c5\u03bc\u03c0\u03bf\u03bc\u03c0\u03b5\u03cd\u03c9, \u201caccompany in a procession\u201d), \u201cDionysiac procession ara recorder at Chalcis in IG 12.9.207, l.20 and IG 12.9.899c l. 1\u201d (Bakhuizen and Kiel 1985, p. 87)
<\/td><\/tr>
Word used to mean the cult images:<\/strong><\/td><\/tr>
<\/td><\/tr>
Gods or other entities named:<\/strong><\/td><\/tr>
\u03c4\u1f78\u03bd \u1f08\u03c0\u03cc\u03bb\u03bb\u03c9 \u03ba\u03b1\u1f76 \u03c4\u1f74\u03bd \u0394[\u03ae]\u03bc\u03b7\u03c4\u03c1\u03b1 \u03ba\u03b1\u1f76 \u03c4\u1f78\u03bd \u0394\u03b9\u03cc\u03bd\u03c5\u03c3\u03bf\u03bd (l. 11). Cf. \u201cBy the early third century BC, musicians and people of the theatre with varied specializations, who participated in the Greek music contests (technitai tou Dionysou), began to organize themselves into associations, which can be deemed as the first professional associations in the Greek world\u201d Aneziri 2020
<\/td><\/tr>
Description of the cult images:<\/strong><\/td><\/tr>
<\/td><\/tr>
Procession\u2019s route:<\/strong><\/td><\/tr>
<\/td><\/tr>
Frequency with which the procession takes place:<\/strong><\/td><\/tr>
<\/td><\/tr>
Performers:<\/strong><\/td><\/tr>
<\/td><\/tr>
References to the public attending the procession:<\/strong><\/td><\/tr>
<\/td><\/tr>
Rites related to the procession:<\/strong><\/td><\/tr>
\u03b5\u1f30\u03c2 \u03c4\u03bf\u1f7a\u03c2 \u1f00\u03b3\u1ff6\u03bd\u03b1\u03c2 \u03c4\u1ff6\u03bd \u0394\u03b9\u03bf\u03bd\u03c5\u03c3\u03af\u03c9\u03bd \u03ba\u03b1\u1f76 \u0394\u03b7\u03bc\u03b7\u03c4\u03c1\u03b9\u03b5\u03af\u03c9\u03bd (l. 18)
<\/td><\/tr>
Allusions to conduct or forms of reverence:<\/strong><\/td><\/tr>
<\/td><\/tr>
Other remarkable elements<\/strong>:<\/td><\/tr>
It is an epigraphical source, IG<\/em> 12.9.207, \u201cun long document, connu sous le nom de \u00ab loi d’Eub\u00e9e \u00bb et dat\u00e9 entre les ann\u00e9es 294 et 288 a.C, offre de pr\u00e9cieux renseignements sur l’activit\u00e9 des technites, \u00e0 une \u00e9poque quelque peu ant\u00e9rieure ou peut-\u00eatre m\u00eame contemporaine \u00e0 la cr\u00e9ation des confr\u00e9ries\u201d Aneziri 2020, p. 11
\u03c4\u1ff6\u03bd \u03c4\u03c1\u03b1\u03b3\u03c9\u03b9\u03b4\u1ff6\u03bd \u03ba\u03b1\u1f76 \u03ba\u03c9\u03bc\u03c9\u03b9\u03b4\u1ff6\u03bd \u1f21\u03bc\u03b5\u03c1\u1ff6\u03bd \u03b4\u03ad\u03ba\u03b1 (l. 24). Cf. \u201cThe Euboean cities have preserved for us the very first law  regulating the organisation of the Dionysia <\/em>(and Demetrieia<\/em>), with many details of the hire of various artists, including  tragic actors\u201d (Gildenhand and Revermann 2010, p. 123)
<\/td><\/tr>
BIBLIOGRAPHY:<\/strong><\/td><\/tr>

ANEZIRI, S. (2020): \u201dArtists of Dionysus: the first professional associations in the ancient Greek world\u201d. In: E. Stewart, E. Harris, & D. Lewis (Eds.), Skilled Labour and Professionalism in Ancient Greece and Rome<\/em> (pp. 293-312), Cambridge University Press, Cambridge, p. 117, n.13<\/a>

BAKHUIZEN, S. C. and KIEL, M. (1985): Studies in the Topography of Chalcis on Euboea: (a Discussion of the Sources)<\/em>, Brill, Leiden, p. 85<\/a>

B\u00d6MMER (1952), RE: s.v. Pompa. Herrscher<\/em>, Vol. XXI.2, p. 1967, n.286

GILDENHAND, I. and REVERMANN, M. (2010): Beyond the fifth century: interactions with Greek tragedy from the fourth century BCE to the Middle Ages<\/em>, De Gruyter, Berlin\/New York, p. 123<\/a>
Le Guen, B (2001): \u201cLes associations de technites dionysiaques \u00e0 l’\u00e9poque hell\u00e9nistique\u201d, PhD Dissertation 

PLEKET, H.W. and STROUD, R.S., \u201cSEG<\/em> 34-896. Eretria. Law of the Euboian confederacy concerning the contracting of Dionysian Artists, 294-288 B.C.\u201d. In: Supplementum Epigraphicum Graecum<\/em>, Current editors: A. T. E. N. Chaniotis Corsten Stavrianopolou Papazarkadas. Consulted online on 10 November 2021<\/a> 

SAMUEL, A. E. (1972): Greek and Roman chronology: calendars and years in Classical Antiquity, Vol. 1<\/em>, Beck, M\u00fcnchen, p. 98<\/a> 

STEPHANIS, I., 1984. \u1f49 \u0395\u1f50\u03b2\u03bf\u03ca\u03ba\u1f78\u03c2 \u03bd\u03cc\u03bc\u03bf\u03c2 \u03b3\u03b9\u1f70 \u03c4\u1f74 \u03bc\u03af\u03c3\u03b8\u03c9\u03c3\u03b7 \u03c4\u1ff6\u03bd \u03b4\u03b9\u03bf\u03bd\u03c5\u03c3\u03b9\u03b1\u03ba\u1ff6\u03bd \u03c4\u03b5\u03c7\u03bd\u03b9\u03c4\u1ff6\u03bd (IG XII 9, 207). EEThess<\/em> (philol), 22, pp. 499\u2013564<\/td><\/tr><\/tbody><\/table><\/figure>\n\n\n\n
\n","protected":false},"excerpt":{"rendered":"

Demetrius Poliorketes\u2019 pompe in Eretria TITLE: Demetrius Poliorketes\u2019 pompe in Eretria DATE: 294-288 BC TEXT: IG 12.9.207 ANEZIRI, S. (2020): \u201dArtists of Dionysus: the first professional associations in the ancient Greek world\u201d. In: E. Stewart, E. Harris, & D. Lewis (Eds.), Skilled Labour and Professionalism in Ancient Greece and Rome (pp. 293-312), Cambridge University Press, […]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"aside","meta":{"footnotes":""},"categories":[9,10,6,5,7,8],"tags":[135,136,54,137],"class_list":["post-780","post","type-post","status-publish","format-aside","hentry","category-emperors-and-kings-epithets","category-performers","category-place","category-ruler","category-terms-for-procession","category-terms-for-statue-of-the-ruler","tag-demetrius-poliorketes","tag-eretria","tag-poliorketes","tag--vb-","post_format-post-format-aside"],"_links":{"self":[{"href":"https:\/\/www.upo.es\/investiga\/processionsandempire\/wp-json\/wp\/v2\/posts\/780"}],"collection":[{"href":"https:\/\/www.upo.es\/investiga\/processionsandempire\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.upo.es\/investiga\/processionsandempire\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.upo.es\/investiga\/processionsandempire\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.upo.es\/investiga\/processionsandempire\/wp-json\/wp\/v2\/comments?post=780"}],"version-history":[{"count":8,"href":"https:\/\/www.upo.es\/investiga\/processionsandempire\/wp-json\/wp\/v2\/posts\/780\/revisions"}],"predecessor-version":[{"id":1029,"href":"https:\/\/www.upo.es\/investiga\/processionsandempire\/wp-json\/wp\/v2\/posts\/780\/revisions\/1029"}],"wp:attachment":[{"href":"https:\/\/www.upo.es\/investiga\/processionsandempire\/wp-json\/wp\/v2\/media?parent=780"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.upo.es\/investiga\/processionsandempire\/wp-json\/wp\/v2\/categories?post=780"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.upo.es\/investiga\/processionsandempire\/wp-json\/wp\/v2\/tags?post=780"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}