LEADER 01585nam 2200553Ia 450 001 9910456448803321 005 20200520144314.0 010 $a1-282-42425-4 010 $a9786612424250 010 $a0-299-18863-9 035 $a(CKB)2520000000006571 035 $a(OCoLC)646875382 035 $a(CaPaEBR)ebrary10351486 035 $a(SSID)ssj0000343409 035 $a(PQKBManifestationID)11249553 035 $a(PQKBTitleCode)TC0000343409 035 $a(PQKBWorkID)10305826 035 $a(PQKB)11670875 035 $a(MiAaPQ)EBC3444929 035 $a(MdBmJHUP)muse12459 035 $a(Au-PeEL)EBL3444929 035 $a(CaPaEBR)ebr10351486 035 $a(EXLCZ)992520000000006571 100 $a20030313d2003 uy 1 101 0 $aeng 135 $aurcn||||||||| 181 $ctxt 182 $cc 183 $acr 200 10$aSuspicion$b[electronic resource] /$fLaura Grimaldi ; translated by Robin Pickering-Iazzi 210 $aMadison, Wis. $cUniversity of Wisconsin Press, Terrace Books$dc2003 215 $a1 online resource (258 p.) 300 $aBibliographic Level Mode of Issuance: Monograph 311 $a0-299-18860-4 606 $aMurder$vFiction 606 $aFiction 608 $aElectronic books. 615 0$aMurder 615 0$aFiction. 676 $a853/.914 700 $aGrimaldi$b Laura$0155629 701 $aPickering-Iazzi$b Robin$0786220 801 0$bMiAaPQ 801 1$bMiAaPQ 801 2$bMiAaPQ 906 $aBOOK 912 $a9910456448803321 996 $aSuspicion$91922014 997 $aUNINA LEADER 00839nam0-22002771i-450 001 990005477560403321 005 20230126095552.0 035 $a000547756 035 $aFED01000547756 035 $a(Aleph)000547756FED01 035 $a000547756 100 $a19990530d1892----km-y0itay50------ba 101 0 $afre 105 $af-------00--- 200 1 $aAntiquitès du Bosphore Cimmèrien$fpar Salomon Reinach 210 $aParis$cLibr. de Firmin-Didot$d1892 215 $aXVI, 213 p., 86 tav.$d28 cm 225 1 $aBibliothèque des monuments figurès grecs et romanes$v3 700 1$aReinach,$bSalomon$0177489 801 0$aIT$bUNINA$gRICA$2UNIMARC 901 $aBK 912 $a990005477560403321 952 $aARCH. G 024 4$bARCH. 1503$fFLFBC 959 $aFLFBC 996 $aAntiquitès du Bosphore Cimmèrien$9587631 997 $aUNINA LEADER 03674nam 22006734a 450 001 9910777689703321 005 20230617005808.0 010 $a0-292-79763-X 024 7 $a10.7560/701809 035 $a(CKB)1000000000453944 035 $a(OCoLC)646760665 035 $a(CaPaEBR)ebrary10245691 035 $a(SSID)ssj0000223044 035 $a(PQKBManifestationID)11187172 035 $a(PQKBTitleCode)TC0000223044 035 $a(PQKBWorkID)10181588 035 $a(PQKB)11738710 035 $a(MiAaPQ)EBC3443220 035 $a(MdBmJHUP)muse2065 035 $a(Au-PeEL)EBL3443220 035 $a(CaPaEBR)ebr10245691 035 $a(DE-B1597)587695 035 $a(DE-B1597)9780292797635 035 $a(EXLCZ)991000000000453944 100 $a20030522d2004 uy 0 101 0 $aeng 135 $aurcn||||||||| 181 $ctxt 182 $cc 183 $acr 200 14$aThe poetics of appearance in the Attic korai$b[electronic resource] /$fMary Stieber 205 $a1st ed. 210 $aAustin $cUniversity of Texas Press$d2004 215 $a1 online resource (279 p.) 300 $aBibliographic Level Mode of Issuance: Monograph 311 $a0-292-70180-2 320 $aIncludes bibliographical references (p. [213]-222) and index. 327 $tFrontmatter -- $tContents -- $tList of illustrations -- $tAcknowledgments -- $tList of abbreviations -- $tIntroduction. conceiving realism in archaic Greek art -- $tChapter one.Historiography -- $tChapter two. the reality of appearances -- $tChapter three the idea of likeness -- $tChapter four conTEXTualizing the Korai -- $tChapter five phrasikleia -- $tNotes -- $tReferences -- $tIndex 330 $aSome of the loveliest works of Archaic art were the Athenian korai?sculptures of beautiful young women presenting offerings to the goddess Athena that stood on the Acropolis. Sculpted in the sixth and early fifth centuries B.C., they served as votives until Persians sacked the citadel in 480/79 B.C. Subsequently, they were buried as a group and forgotten for nearly twenty-four centuries, until archaeologists excavated them in the 1880s. Today, they are among the treasures of the Acropolis Museum. Mary Stieber takes a fresh look at the Attic korai in this book. Challenging the longstanding view that the sculptures are generic female images, she persuasively argues that they are instead highly individualized, mimetically realistic representations of Archaic young women, perhaps even portraits of real people. Marshalling a wide array of visual and literary evidence to support her claims, she shows that while the korai lack the naturalism that characterizes later Classical art, they display a wealth and realism of detail that makes it impossible to view them as generic, idealized images. This iconoclastic interpretation of the Attic korai adds a new dimension to our understanding of Archaic art and to the distinction between realism and naturalism in the art of all periods. 606 $aKorai 606 $aPolychromy$zGreece$zAthens 606 $aVotive offerings$zGreece$zAthens 606 $aAthena (Greek deity)$xCult 606 $aInscriptions, Greek 607 $aAcropolis (Athens, Greece) 615 0$aKorai. 615 0$aPolychromy 615 0$aVotive offerings 615 0$aAthena (Greek deity)$xCult. 615 0$aInscriptions, Greek. 676 $a733/.3 700 $aStieber$b Mary C$g(Mary Clorinda)$0855048 801 0$bMiAaPQ 801 1$bMiAaPQ 801 2$bMiAaPQ 906 $aBOOK 912 $a9910777689703321 996 $aThe poetics of appearance in the Attic korai$93765363 997 $aUNINA