Books by Michaela Stark
Katalog zur Sonderausstellung in der Gießener Antikensammlung 17. November 2019 bis 15. Februar 2020 (Bilderhefte der Gießener Antikensammlung Nr. 5) herausgegeben von Michaela Stark und Carolin Rinn. ISBN 978-3-00-064130-5, 2019, 2019
Ausstellungskatalog Antikensammlung der JLU Gießen, 2020
Katalog zur Sonderausstellung in der Gießener Antikensammlung 17. November 2019 bis 15. Februar 2020 (Bilderhefte der Gießener Antikensammlung Nr. 5) herausgegeben von Michaela Stark und Carolin Rinn. ISBN 978-3-00-064130-5, 2019
Katalog zur neukonzipierten Dauerausstellung (Bilderhefte der Gießener Antikensammlung Nr. 4) Hrsg. von Michaela Stark. Gießen: Inst. für Altertumswiss. und Antikensammlung der Justus-Liebig-Universität. ISBN 978-3-00-062542-8, 2019
Myths of the birth and childhood deeds of the Greek gods and heroes are very popular in ancient l... more Myths of the birth and childhood deeds of the Greek gods and heroes are very popular in ancient literature as well as in Greek art. This study approaches the currently much debated subject of “childhood” from a new perspective and wants to give new insights about ancient ideals and moral concepts as well as the perception of the gods and their relevance for Greek society. In a thorough and systematic analysis of the ancient texts as well as the existing iconographic evidence, iconographic, philological und cultural perspectives are considered, casting new spotlights on the discourses “god” and “human”, “child” and “adult”, “man” and “woman”. Prevailing scientific opinions are critically reconsidered, partly disproved based on the evidence of the iconographic analysis and new interpretative approaches are developed.
Mythen von Geburt und Kindheitstaten der Götter und Heroen sind sowohl in der literarischen Überlieferung als auch in der Bilderwelt des antiken Griechenland präsent. Die Untersuchung betrachtet das momentan in der Forschung intensiv diskutierte Thema „Kindheit“ von einem neuen Standpunkt aus und gewinnt auf dieser Grundlage neue Erkenntnisse über antike Wertvorstellungen, das Verständnis von Göttern und deren Bedeutung für die griechische Gesellschaft. Die Autorin liefert neben einer eingehenden Untersuchung der antiken Texte eine systematische Analyse der erhaltenen Bildzeugnisse unter ikonographischen, philologischen und kulturhistorischen Perspektiven und wirft neue Schlaglichter auf die Diskurse ‚Gottʻ und ‚Menschʻ, ‚Kindʻ und ‚Erwachsenerʻ sowie ‚Mannʻ und ‚Frauʻ. Gängige Forschungsmeinungen werden kritisch hinterfragt, zum Teil durch die Evidenz der ikonographischen Analyse widerlegt und neue Interpretationsansätze werden entwickelt.
Papers by Michaela Stark
K. Sporn – A. Farnoux – E. Laufer (Hrsg), Ancient Phokis : new approaches to its history, archaeology and topography ; International conference, DAI Athens, 30 March – 1 April 2017, 2024
The contribution presents an ongoing project concerning the typological and statistical analysis ... more The contribution presents an ongoing project concerning the typological and statistical analysis of theArchaic pottery of the sanctuary of Kalapodi found during the excavations of 2004–2013. Apart from imported pottery – mainly from Corinth and Athens – the findings content mostly of simple monochrome local style pottery. In addition to gathering information about the regional and transregional significance of the sanctuary in Archaic times, important goals are to shed light on the development of the local pottery production, in comparison to other sites, as well as analyzing the usage of different vessel-types in the sanctuary and the ritual practice.
in: A. Binsfeld - A. Klöckner - G. Kremer - M. Reuter - M. Scholz (Hrsg.), Stadt - Land - Fluss. Grabdenkmäler der Treverer in lokaler und überregionaler Perspektive. Akten der Internationalen Konferenz vom 25.-27. Oktober 2018 in Neumagen und Trier, Trierer Zeitschrift · Beiheft 37, 2020
Die Grabdenkmäler der Gallia Belgica überziehen, gerahmt von ornamentalem Dekor, eine Fülle figur... more Die Grabdenkmäler der Gallia Belgica überziehen, gerahmt von ornamentalem Dekor, eine Fülle figurenreicher Szenen. Die Bilder kennzeichnet neben auffallendem Detailreichtum eine große Räumlichkeit bzw. der Eindruck konstanter Bewegung. Damit der Betrachter die Fülle an Informationen, die die wechselseitig vernetzten Bilder transportieren, erfassen kann, muss er das Denkmal aus verschiedenen Blickwinkeln betrachten bzw. umschreiten. Dabei sind verschiedene narrative Strategien zu beobachten, um den Blick des Betrachters zu führen: einzelne Attribute werden prominent ins Bild gesetzt, andere sind nur von einem bestimmten Standpunkt aus sichtbar, so dass der Betrachter nahe herantreten und den Figuren quasi über die Schulter schauen muss. Anhand eines prominenten Denkmals aus Neumagen arbeitet der Beitrag verschiedene Strategien der Blick- und Betrachterführung heraus und diskutiert, inwieweit die Bilder den Betrachter aktivieren, seinen Blick auf die verschiedenen Bildzonen des Denkmals lenken und diese szenenübergreifend miteinander verbinden.
Barbara Porod – Peter Scherrer (Hrsg.), Akten des 15. Internationalen Kolloquiums zum Provinzialrömischen Kunstschaffen. Der Stifter und sein Monument. Gesellschaft – Ikonographie – Chronologie, 14. bis 20. Juni 2017, Graz / Austria, 2019
Barbara Porod – Peter Scherrer (Hrsg.), Akten des 15. Internationalen Kolloquiums zum Provinzialrömischen Kunstschaffen. Der Stifter und sein Monument. Gesellschaft – Ikonographie – Chronologie, 14. bis 20. Juni 2017, Graz / Austria, 2019, 2019
in: C. Coquelet - G. Creemers - R. Dreesen - E. Gomaere (Hrsg.), Roman Ornamental Stones in North-Western Europe. Natural Resources, Manufacturing, Supply, Life & After Life (2018) 275-284 (gemeinsam mit K.-U. Mahler und M. Stark), 2018
pArT 1 orIGIn AnD proVenAnce of THe rAW MATerIAls An InTroDucTIon To THe MosT IMporTAnT DecorATIV... more pArT 1 orIGIn AnD proVenAnce of THe rAW MATerIAls An InTroDucTIon To THe MosT IMporTAnT DecorATIVe sTones of AncIenT Greece: use, DIsTrIbuTIon, quArrIes, cHArAcTerIzATIon AnD ArcHAeoMeTrIc probleMs 19 lorenzo lazzarini on THe roMAn use of 'belGIAn MArbles' In THe civitas tungrorum AnD beyonD 25 roland dreesen, marleen de Ceukelaire & Vilma ruppienÉ
S. Lefebvre u.a. (Hrsg.), Iconographie du quotidien dans l'art provincial romain : modèles régionaux, (Actes XIVe congrès international d'art provincial romain, Dijon, juin 2015), Dijon 2017. - Revue archéologique de l'Est – Supplément 44, 2017
C. Lang-Auinger – E. Trinkl (Hg.), ΦΥΤΑ ΚΑΙ ΖΩΙΑ. Pflanzen und Tiere auf griechischen Vasen. Corpus Vasorum Antiquorum Österreich, Beiheft 2, 2016
Bibliografische Information der Deutschen Nationalbibliothek Die Deutsche Nationalbibliothek verz... more Bibliografische Information der Deutschen Nationalbibliothek Die Deutsche Nationalbibliothek verzeichnet diese Publikation in der Deutschen Nationalbibliografie, detaillierte bibliografische Daten sind im Internet über http://dnb.d-nb.de abrufbar.
in: S. Moraw – A. Kieburg (Hrsg.), Mädchen im Altertum/Girls in Antiquity (2014), 171-184., Nov 2014
„Never young?“ The Phenomenon of the Goddesses’ Missing Childhood in Ancient Greece
Looking at... more „Never young?“ The Phenomenon of the Goddesses’ Missing Childhood in Ancient Greece
Looking at the pictures of myths describing divine childhood, one can see that divine boys are very present in Archaic and Classical art. There are many pictures showing Hermes, Apollon or Dionysos as children. Female “god-children”, however, are almost completely missing in these periods mentioned above. Athena seems to have always been an adult and warlike. Hera and Aphrodite also never were girls. How should we judge this phenomenon of ‘missing childhood’? In modern research the theory of the disregard of children in ancient society because of their imperfection in body and mind is strongly supported. The same low social status is also postulated for women. Girls are therefore declared twice as bad, being not only children but also female. This condition would thus contradict the dignity of a goddess. But can we really support this theory? And are really only goddesses victims of the ‘missing childhood?’
In the following analysis the opinion of contemporary research is going to be revised based on two examples, the visual images of the goddesses Athena and Artemis, and in conclusion disproved. The iconographic features of Athena in the depictions of her birth for example, are a combination of single elements taken from contemporary imagery of mortal children and from the attributes and the habitus that are characteristic for the adult goddess. This method of representation is significant for the iconography of divine children in general and is found in the same way in pictures of male divine children. The aspect of gender is therefore not relevant for the question which deity is shown as a child and which is not. For Artemis, on the other hand, there are no images that can be identified without doubt as showing the goddess as a new-born child. However, the goddess appears in pictures with the iconographic features of another stadium of the non-adult, the Parthenos, meaning the adolescent girl before reaching the status of an adult woman after her marriage.
Both goddesses are responsible for the raising of children and their social integration. Despite this, concerning the images they represent different stages of childhood. Therefore, in a second step this analysis will be shown that those different stages are due to their divergent spheres of responsibility. The goddess Artemis, whose sphere is the wild, uncivilized nature, is responsible for girls in the stage of the untamed Parthenos and represents this stage of transition herself. In the cults of Athena on the other hand, a special emphasis is given to constitutive aspects as in her cult ceremonies girls are prepared for typical female roles. Moreover, she is responsible for the legitimate integration of children into the community of citizens. In this context, the images showing the goddess’ birth surrounded by an assembly of the Olympic gods and her close relationship to her father Zeus are more than fitting.
Bilderhefte der Giessener Antikensammlung 2, (zusammen mit: M. Recke, T. Bölter, M. Bonarius), 2010
Thetis, Mannheimer Beiträge zur klassischen Archäologie und Geschichte Griechenlands und Zyperns 13/14, 2007, 41-48., 2007
The well-known red – figure Makron cup (Athens, NM 325) shows the infant Dionysus in a procession... more The well-known red – figure Makron cup (Athens, NM 325) shows the infant Dionysus in a procession of the gods being escorted to an altar where two nymphs are making a sacrifice. The picture is unique in greek art and is set apart from the canonical scheme of Dionysus being handed over to his divine nurses. The composition and the predominance of dionysiac attributes show Dionysus as the central figure of the picture and his iconography and the gestures of the other figures within the procession refer to a divine epiphany.
The sacrifice made by the nymphs must be identified as nephalia and therefore specific for the nymphs. A possible interpretation is the introduction of Dionysus as master of the nymphs (nymphagetes).
Conference Presentations by Michaela Stark
The contribution presents an ongoing project concerning the typological and statistical analysis ... more The contribution presents an ongoing project concerning the typological and statistical analysis of theArchaic pottery of the sanctuary of Kalapodi found during the excavations of 2004–2013. Apart from imported pottery – mainly from Corinth and Athens – the findings content mostly of simple monochrome local style pottery. In addition to gathering information about the regional and transregional significance of the sanctuary in Archaic times, important goals are to shed light on the development of the local pottery production, in comparison to other sites, as well as analyzing the usage of different vessel-types in the sanctuary and the ritual practice.
Teaching Documents by Michaela Stark
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Books by Michaela Stark
Mythen von Geburt und Kindheitstaten der Götter und Heroen sind sowohl in der literarischen Überlieferung als auch in der Bilderwelt des antiken Griechenland präsent. Die Untersuchung betrachtet das momentan in der Forschung intensiv diskutierte Thema „Kindheit“ von einem neuen Standpunkt aus und gewinnt auf dieser Grundlage neue Erkenntnisse über antike Wertvorstellungen, das Verständnis von Göttern und deren Bedeutung für die griechische Gesellschaft. Die Autorin liefert neben einer eingehenden Untersuchung der antiken Texte eine systematische Analyse der erhaltenen Bildzeugnisse unter ikonographischen, philologischen und kulturhistorischen Perspektiven und wirft neue Schlaglichter auf die Diskurse ‚Gottʻ und ‚Menschʻ, ‚Kindʻ und ‚Erwachsenerʻ sowie ‚Mannʻ und ‚Frauʻ. Gängige Forschungsmeinungen werden kritisch hinterfragt, zum Teil durch die Evidenz der ikonographischen Analyse widerlegt und neue Interpretationsansätze werden entwickelt.
Papers by Michaela Stark
Looking at the pictures of myths describing divine childhood, one can see that divine boys are very present in Archaic and Classical art. There are many pictures showing Hermes, Apollon or Dionysos as children. Female “god-children”, however, are almost completely missing in these periods mentioned above. Athena seems to have always been an adult and warlike. Hera and Aphrodite also never were girls. How should we judge this phenomenon of ‘missing childhood’? In modern research the theory of the disregard of children in ancient society because of their imperfection in body and mind is strongly supported. The same low social status is also postulated for women. Girls are therefore declared twice as bad, being not only children but also female. This condition would thus contradict the dignity of a goddess. But can we really support this theory? And are really only goddesses victims of the ‘missing childhood?’
In the following analysis the opinion of contemporary research is going to be revised based on two examples, the visual images of the goddesses Athena and Artemis, and in conclusion disproved. The iconographic features of Athena in the depictions of her birth for example, are a combination of single elements taken from contemporary imagery of mortal children and from the attributes and the habitus that are characteristic for the adult goddess. This method of representation is significant for the iconography of divine children in general and is found in the same way in pictures of male divine children. The aspect of gender is therefore not relevant for the question which deity is shown as a child and which is not. For Artemis, on the other hand, there are no images that can be identified without doubt as showing the goddess as a new-born child. However, the goddess appears in pictures with the iconographic features of another stadium of the non-adult, the Parthenos, meaning the adolescent girl before reaching the status of an adult woman after her marriage.
Both goddesses are responsible for the raising of children and their social integration. Despite this, concerning the images they represent different stages of childhood. Therefore, in a second step this analysis will be shown that those different stages are due to their divergent spheres of responsibility. The goddess Artemis, whose sphere is the wild, uncivilized nature, is responsible for girls in the stage of the untamed Parthenos and represents this stage of transition herself. In the cults of Athena on the other hand, a special emphasis is given to constitutive aspects as in her cult ceremonies girls are prepared for typical female roles. Moreover, she is responsible for the legitimate integration of children into the community of citizens. In this context, the images showing the goddess’ birth surrounded by an assembly of the Olympic gods and her close relationship to her father Zeus are more than fitting.
The sacrifice made by the nymphs must be identified as nephalia and therefore specific for the nymphs. A possible interpretation is the introduction of Dionysus as master of the nymphs (nymphagetes).
Conference Presentations by Michaela Stark
Teaching Documents by Michaela Stark
Mythen von Geburt und Kindheitstaten der Götter und Heroen sind sowohl in der literarischen Überlieferung als auch in der Bilderwelt des antiken Griechenland präsent. Die Untersuchung betrachtet das momentan in der Forschung intensiv diskutierte Thema „Kindheit“ von einem neuen Standpunkt aus und gewinnt auf dieser Grundlage neue Erkenntnisse über antike Wertvorstellungen, das Verständnis von Göttern und deren Bedeutung für die griechische Gesellschaft. Die Autorin liefert neben einer eingehenden Untersuchung der antiken Texte eine systematische Analyse der erhaltenen Bildzeugnisse unter ikonographischen, philologischen und kulturhistorischen Perspektiven und wirft neue Schlaglichter auf die Diskurse ‚Gottʻ und ‚Menschʻ, ‚Kindʻ und ‚Erwachsenerʻ sowie ‚Mannʻ und ‚Frauʻ. Gängige Forschungsmeinungen werden kritisch hinterfragt, zum Teil durch die Evidenz der ikonographischen Analyse widerlegt und neue Interpretationsansätze werden entwickelt.
Looking at the pictures of myths describing divine childhood, one can see that divine boys are very present in Archaic and Classical art. There are many pictures showing Hermes, Apollon or Dionysos as children. Female “god-children”, however, are almost completely missing in these periods mentioned above. Athena seems to have always been an adult and warlike. Hera and Aphrodite also never were girls. How should we judge this phenomenon of ‘missing childhood’? In modern research the theory of the disregard of children in ancient society because of their imperfection in body and mind is strongly supported. The same low social status is also postulated for women. Girls are therefore declared twice as bad, being not only children but also female. This condition would thus contradict the dignity of a goddess. But can we really support this theory? And are really only goddesses victims of the ‘missing childhood?’
In the following analysis the opinion of contemporary research is going to be revised based on two examples, the visual images of the goddesses Athena and Artemis, and in conclusion disproved. The iconographic features of Athena in the depictions of her birth for example, are a combination of single elements taken from contemporary imagery of mortal children and from the attributes and the habitus that are characteristic for the adult goddess. This method of representation is significant for the iconography of divine children in general and is found in the same way in pictures of male divine children. The aspect of gender is therefore not relevant for the question which deity is shown as a child and which is not. For Artemis, on the other hand, there are no images that can be identified without doubt as showing the goddess as a new-born child. However, the goddess appears in pictures with the iconographic features of another stadium of the non-adult, the Parthenos, meaning the adolescent girl before reaching the status of an adult woman after her marriage.
Both goddesses are responsible for the raising of children and their social integration. Despite this, concerning the images they represent different stages of childhood. Therefore, in a second step this analysis will be shown that those different stages are due to their divergent spheres of responsibility. The goddess Artemis, whose sphere is the wild, uncivilized nature, is responsible for girls in the stage of the untamed Parthenos and represents this stage of transition herself. In the cults of Athena on the other hand, a special emphasis is given to constitutive aspects as in her cult ceremonies girls are prepared for typical female roles. Moreover, she is responsible for the legitimate integration of children into the community of citizens. In this context, the images showing the goddess’ birth surrounded by an assembly of the Olympic gods and her close relationship to her father Zeus are more than fitting.
The sacrifice made by the nymphs must be identified as nephalia and therefore specific for the nymphs. A possible interpretation is the introduction of Dionysus as master of the nymphs (nymphagetes).
https://www.uni-giessen.de/en/faculties/f04/institute-en/classical-studies/classical-archaeology/facilities/collection-of-antiquities/virtual-museum/diagnoptico