Social Sciences
The Persecution of Christians in Eusebius
Koenig wrote that “Religious tolerance is something we should all practice; however, there has been more persecution and atrocities committed in the name of religion and religious freedom than anything else.” This post will look at the persecution of Christians through Eusebius’ Historica Ecclesiastica and other primary and secondary sources.
It is difficult to apportion blame for this persecution, or whether individuals can even be held responsible, for truly the greatest contributors to persecution are those who do nothing when they have power to make a difference. Eusebius like Lactantius implies that blame lies with Galerius though his implication does not directly name him; instead addressing Galerius as the long accepted “prime mover in the calamitous persecution.”[1] Lactantius agrees with this claim announcing that, due to his mother’s conceived hatred against the Christians for not following her ways, she instigated Galerius to destroy them.[2] Why would Eusebius make the suggestion that Galerius was responsible? Barnes asserts that Eusebius was a prime supporter of Constantine and wrote in his reign.[3] His support for Constantine suggests that he could not offend those related to the Emperor, such as Constantius who reigned during the same period as Galerius as he would be indirectly offending Constantine himself. It is also possible that Eusebius had a personal vendetta against Galerius, blaming him for the persecution of his fellow Christians.
Eusebius’ account also suggests that divine judgement was responsible for the persecution of Christians. Eusebius expresses that “increasing freedom transformed our character to arrogance and sloth.”[4] Eusebius goes on to explain that divine judgement, God himself, gradually began to order things and the persecution began with the Christians in the army. This indicates that Eusebius thought the Christians brought the persecution upon themselves for ignoring sins and abusing their own freedom. Eusebius’ suggestion of divine judgement further indicates that he was attempting to put a positive spin on the circumstances, making it appear that persecution was part of God’s ultimate plans, God being infallible. Barnes asserts that the purpose for this suggestion was to strengthen the belief that “God intervenes in history to ensure that the Christian Church shall prosper.”[5] This indicates that Eusebius may have even been suggesting that the persecution had its benefits in the prosperity of Christianity by laying the blame of the persecution in divine hands.
The account by Eusebius and other scholars shows that the persecution affected different areas with varying intensities, some greater than others. For instance, Eusebius describes the persecution at Thebais where people were subject to wild animals and other horrendous tortures.[6] An analysis of Eusebius’ account of Thebais, Antioch and Nicomedia among others gives us the impression that though the Christians suffered horribly, there was always a faith that could not be taken from them, that there was a “most wonderful eagerness…in those who had put their trust in Christ.”[7] This gives us the impression that many Christians saw the persecution as a chance to prove their loyalty to God.
The place where the persecutions appear to be carried out with the greatest intensity according to Eusebius and Lactantius was not a location in the geographical sense. Eusebius highlights that the army was a key target and starting point of the persecution.[8] An assessment of the army being central to the persecution suggests that there was an aim to strengthen the loyalty of military powers. Eusebius also asserts that Nicomedia was a focus point.[9] From this account we gain the impression that the intensity in Nicomedia was to primarily strengthen imperial powers.
Other areas where we see an intensity of persecution as told by Eusebius were Antioch and Tyre. ‘Historica Ecclesiastica’ recounts the “ordeal of the Egyptians who championed the faith so gloriously at Tyre.”[10] Eusebius also indicates the great intensity in Egypt and Syria, stating that “we should feel equal admiration for those of them [Egyptians] who were martyred in their own country.”[11] This statement also suggests that the persecution was wide spread.
Religion is more apparent in history than any other reason for persecution. The persecution of the Christians under Diocletian is one such example where the persecution had varying consequences to the population and church even with the introduction of an edict of toleration.[12] The edict of toleration would have provided the majority of the Christians with a sense of relief. Though, the sheer number of volunteer martyrs mentioned by Eusebius and Lactantius implicate that for the few the edict removed their chance to show their devotion. Momigliano asserts that one such response is that some Christians voiced resentment in light of those who “survived in fear”[13] through the persecution rather than in physical pain. An analysis of this suggests that there may have been some resentment for the minority who appeared to seek the persecution.[14]
The edict also created consequences in relation to ‘conscience’ and the unification of the church. Chadwick assesses that there were many problems of conscience as a result of the persecution and that one such response was the rise of certain militant extremist groups such as the Donatists.[15] The Donatists counted even the smallest of physical punishments as a worthy martyrdom and saw those who denied their faith, as traitors. This suggests that militant ideas forced a widening division focusing on the legitimacy of certain clergy members. Chadwick assesses that these problems of ‘conscience’ in light of the persecution led to many adaptations of the law to meet particular cases. [16]
Eusebius explains another ramification of the edict’s responses was that it set bishops against each other due to certain cleric’s militant ideologies.[17] In achieving this, the church was further divided even though Constantine appears to be looking for a means of unification. An evaluation of the responses to the edict suggest that it created a new though less severe bout of persecution, this time between the various factions of the Christian population.
The persecution of Christians under Diocletian is one example of the many religious conflicts throughout history. Through primary and secondary sources we see where the blame of this persecution is aimed and that the persecution looked towards securing military and imperial power. The persecution had several ramifications, showing us that even with an edict of toleration the church lay divided. We do however see one continuing theme; that even in the face of extreme controversy and persecution, faith stood tall in the hearts of many even in the face of death.
[1]: Eusebius, Historica Ecclesiastica, Book 8 (Eusebius, The History of the Church, Penguin (London 1989), p.280 – Eusebius addresses Galerius as “the author of this edict” rather than by name. Further reference to Galerius as the prime instigator of the persecution is found on p.281 as the man whom Eusebius wrote of on the previous page.
Eusebius’ Ecclesiastical History was rewritten at least twice in light of the persecution, Eusebius wishing to leave a permanent account of the martyrs of his day
[2] Lactanius, De Mortibus Persecutorum,, 11-13 in Stevenson, J., A New Eusebius: Documents Illustrating the History of the Church to AD337 (London 1987), p.271 – Lactantius recounts the nature of Galerius’ mother in regards to the Christian religion not agreeing with her own and how she made sure her hatred continued in her equally superstitious son.
[3] Barnes, T.D., Constantine and Eusebius (London 1981), p.150
[4] Eusebius, op.cit, p.257
[5] Barnes, op.cit., p.162
[6] Eusebius, op.cit., p.265
[7] Ibid., p.265
[8] Ibid., p. 260 – primary attack on the army as an example as well as a means to secure military power on the part of the Arian persecutors
Lactanius, De Mortibus Persecutorum, 31.1-52.5 (Creed, J.L. (trans.), (Oxford, 1984), p.49
[9] Eusebius, op.cit., p.261 – significant centre of imperial power in the period, by securing the power of the imperial forces you secure more significantly the population which they rule over
[10] Ibid., p.264
[11] Ibid., p.264
[12] Barnes op.cit., p.159
[13] Momigliano, A., The Conflict Between Paganism and Christianity in the Fourth Century (Oxford, 1963), p.80
[14] Cameron, A., The Later Roman Empire: AD 284-430 (Glasgow. 1993), p.66 – provided a link to the apostles
[15] Chadwick, H., Studies on Ancient Christianity (Hampshire, 1984), p.XX47
[16] Ibid., p.XX47
[17] Eusebius, Vita Constantini, 22.1-61.1, Cameron, A. & Hall, S.G. (trans.), Eusebius, Life of Constantine (Oxford, 1999), p.115, book II 61.2-62
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An Introduction to Lucian of Samosata: Ancient Science Fiction?
Long before Neil Armstrong and Buzz Aldrin set foot on the Moon in 1969, Lucian of Samosata and a band of heroes were travelling in outer space, encountering alien life-forms, interplanetary war and artificial intelligence. Lucian’s ‘True History’, and successive writings like Kepler’s ‘Somnium’, illustrates that dreams to reach the moon and beyond have long been in the minds of humanity. Lucian calls his work ‘The True History’. He claims it to be false and yet is there some truth after all? Where have Lucian’s claims come from? Is there mythological and ideological basis behind Lucian’s imagined journey? And has this fake ‘true’ history acted in any way to inspire humanity to make their dream of moon landing a reality?
At first appearance the True History appears almost absurd. Wine flavoured fish, talking trees, horse-vultures, sun and moon inhabitants at war, Ostrich-slingers, catapulting of huge radishes, winged acorns ridden by dog headed men, pirates sailing in giant pumpkins, cloud centaurs…etc. The story is certainly a bit different. After a war between the races of the Sun and Moon, on his subsequent trip to the underworld, he is put on trial for being alive in the land of the dead, and he meets a myriad of famous characters: the most famous of these being Homer. Lucian’s account claims the ‘true’ reason why Homer wrote the Iliad and the Odyssey…basically why not?…
Lucian’s view of truth
Lucian opens his history by stating that “Men interested in athletics and in the care of their bodies think not only of condition and exercise but also of relaxation in season; in fact, they consider this the principal part of training. In like manner students…after much reading of serious works may profitably relax their minds and put them in better trim for future labour.”
Lucian’s main concern is the relationship between truths and lies. He associates lying with the poets, historians and philosophers who ‘wrote many marvellous stories’, such as Ctesias of Cnidos and Iambulus. He asserts that his own work will allude to these ‘liars’ in an approach which is mocking and amusing. Lucian from the very start confesses that he draws satirically on the fashionable tales of the past, but what is more imperceptive is the way he draws off the very truth of human character to look to certain things and ask questions as many a scholar and poet which he draws on has done previous. Lucian admits that he himself has turned to lies but defends his choice to tell them by admitting that there is nothing worth telling that has happened to him in his monotonous life. He justifies this by claiming he will be far more reasonable in his lies that the others. Lucian continues on a tradition of illustrating the human condition through fiction.
In his declaration and following introduction, Lucian parodies the preliminary works of Socrates at the commencement of his apology and Ctesias who claimed to be telling the complete and unvarnished truth. Lucian uses authorial and narratorial voices and in doing so exemplifies the way in which the truth and fiction are constantly threatening to coalesce. So Lucian is looking to show how the falsehoods can be presented as truths. But in doing so he is still presenting us with human truths which are the foundation of natural thought processes and with cultural ideologies in his context.
The journey – reasons and significance
The journey in the ‘True History’ is indicative of imaginative expressions, expressions of our desire to give shape and being to change. Lucian uses his writing to explore topics such as generic transformation, the construction of both individual and communal subjects and the contemporary sense of an ending. Augustine of Hippo explains this concept of expression and need for explanation well in his sentiment that “it is the mind that looks for things that are being looked for by the yes or any other sense of the body (since it is the mind which directs the sense of the flesh); and it is the mind that finds what is being looked for when the sense comes upon it.” Lucian is essentially displaying a sense of self and a questioning of life’s questions by developing the enquiries already laid out for him in myths and history.
The trip across the sea
Lucian’s voyage across the sea illustrates the journey, the physical portraying imaginative and inner thought. The physical outward journey of the travellers and our narrator is used by Lucian to present the inward mental journey. In doing this Lucian is presenting truth as well as fiction. It echoes the works of Homer in the Odyssey as a parody of the search for philosophical truth. McKee attests that the sea voyage embodies many of the elements of the tradition of allegorical interpretation of the Odyssey. I argue that this attestation has merit as Odysseus’ wanderings are paralleled in the major stages of the voyage in Lucian through successive episodes of peril and discovery. In Lucian however they are in the form of the moon journey, the whale and the Land of the dead.
The Sea had become a natural association with the philosophical journey by the time Lucian penned his so-called history. It had also become a standard symbol for Homer and epic poetry. Romm makes a fair analysis of the the analogy between Homer and the Oceans concluding that it was an especially popular concept in the late first and second centuries AD, when Lucian of Samosata was composing his works. Many of Lucian’s contemporaries use the image of the sea journey in their works. Longinus, On the Sublime. 35.3-4[1] and Quintilian, Inst. Orat. 10.1.46 to name but a few.[2]
Lucian’s voyage also demonstrates myth being used to parallel narrative to create symbolic readings. Lucian draws on the images and cultural understandings of myths such as the labours of Heracles to display his truths and questions. Lucian starts by travelling through the pillars of Heracles in 1.5 and arriving at the island of the Vine-women where the voyagers find an inscription recording the visit of Heracles himself in 1.7. This voyage across the sea has also been suggested as another part of the trip to the underworld imagery where the voyage across the sea is reminiscence of the river Stix. And the three-headed horse vultures in 1.11 who guard the moon are parallel to the Cerberus character of myth. The Whale episode in Lucian 2.1 when the travellers are trapped inside and escape by setting fire to the innards, killing the whale is reminiscence again of Heracles’ adventures in the rescue of Hesione by killing the sea-monster from the inside. I argue that this is a paragon of the Heraclean ideal of virtue where fighting from inside represented battling against illusion and falsehood itself. The whale episode has also been compared to a form of ‘descent for knowledge’ which is paralleled in Plato’s allegory of the Cave and Plutarch’s cave of Trophonius in de Genio Socratis 590A-592D.[3] This is a kind of journey for truth which is a search for knowledge in relation to an escape from a prison-like space of darkness where one is isolated from reality. The episode ends when knowledge has been gained and the voyagers escape back into the real world. This entrapment with eventual resolution is a recurring theme in the True History which is seen throughout Graeco-Roman epic. It illustrates how the mind searches for truth through knowledge and experience but only at the presentation of an intellectual torpor of lack of genuine original knowledge.
Lucian also parallels Plato’s use of initiatory journeys of the mind and soul which comes from a long tradition of mythical episodes. Plato’s Republic, for instance, relates the myth of Er in 614B-621D where Er recounts how his soul left his body and travelled to a place of judgement where the souls of the judged were separated between the good and the bad. The good souls went right and up and the bad went left and down (614B-E). This episode in Plato parallels Lucian’s account of the Isles of the Blessed and the Wicked in 2.29-31.
The journey to the moon
The journey to the moon illustrates the natural instinct that humans have to look up and wonder. It is a caricature of the human imagination as Kerslake puts it. Lucian’s portrayal of the moon and the sun at war partly illustrates the disagreement between the various groups of philosophers. Again Lucian presents far more truth in his fiction. The trip to the moon parodies the soul’s journey to the beyond, an idea that has obsessed the human mind since the beginning of time. It could even be related to the boarding of Charon’s boat, if indeed the idea is that the voyagers are all ready dead as some scholars have suggested. I argue that Lucian may have been echoing the journey to the afterlife but that he was doing it in the sense of the wonderings of the living and hence the voyagers are not dead. Death does not work as well with later parts of the narrative where they cannot remain on the Island of the Blessed because they still live. The war between the sun and moon peoples also satirises the wars of the Homeric tales.
Trip to the underworld
The trip to the underworld in the True History further demonstrates Lucian’s wish to find truth and the human desire to learn what comes after death. The Isles of the Blessed and the Wicked are an imaging of the afterlife as well as a way of posing questions to the dead which stayed at the forefront of the intellectual mind in the period. McKee asserts that Lucian here parallels Plato’s dialogue Phaedo which described the final hours of Socrates’ life when he tells his followers that he does not fear death because the soul of a moral person ‘departs to the place where things are like itself – invisible, divine, immortal and wise; where on its arrival, happiness awaits it, and release from uncertainty and folly, from fears and gnawing desires, and all other human evils.’ This theme of thanatology illustrates Lucian’s conscious and unconscious need to explain the hereafter. It is a theme which still overwhelms the modern consciousness. We just need to look at modern media to see that it is a part of human nature to search for such truths. For example Philip K Dick’s novel Ubik which presents the afterlife as a strange and unnerving limbo, or Logan’s Run.
The underworld instalment includes the Isle of the Blessed, where the travellers are told that they cannot remain because they still live. Thus they can only stay seven months before they must leave and later be judged for their life’s actions upon their actual death. The episode shows what is termed by Holliday as, the ‘journey of the soul.’ This subsidiary journey of knowledge also includes the meeting of Homer and many of the philosophers whose writing’s and ideals Lucian is parodying in the True History. Ctesias and Herodotus also appear suffering punishments on the Isle of the Wicked because of their habit of lying so seen by Lucian.
The journey to discover the truth of life and death is continued in the concluding shipwreck episode of the True History. At the beginning of the narrative, Lucian tells us that the voyage’s goal is to reach the telos of the sea. Telos has many meanings in the Greek language but is also associated strongly with death and finality. The shipwreck episode has this sense of finality the equivalent of death and signifies the ending of the voyage and thus the end of this particular search for truth and knowledge.
Significance
We see that Lucian of Samosata was influenced by sources which he used to portray the ideas of truth and falsehood but have Lucian’s narratives stemmed from a deeper ideology and influenced later ones. We can see why many scholars have previously focused on how close Lucian’s True History is to modern day science fiction as science fiction is both symptomatic of cultural disruption and an expression of our desire for advancement and knowledge, using the future and the surreal to comment of the present and familiar as Lucian does.
The True History is also significant as it continues a theme very close to Lucian’s personal values. This theme is vastly seen in his earliest pieces such as his ‘Instructions for writing history’ where he bade the historian first to get sure facts, then tell them in due order, simply and without exaggeration or toil after fine writing. Lucian’s quest for the truth continues as he advises that the historian should aim not less at an enduring grace given by Nature to the Art that does not stray from her, and simply speaks the highest truth it knows. The dialogues of Lucian also aim at protecting against false opinions by bringing the satire of the likes of Aristophanes and the sarcasm of Menippus into disputations that sought to dispel false idols before setting upon discovering the truth.
You can see why it isn’t generally mentioned among the classics. The ‘True History’ seems a bit far-fetched for any audience. But if you want to read something different, written way back in the second century before the advent of Stargate, Mars Attacks and Independence Day, then I suggest you give it a look. And as we have seen, there is much truth behind Lucian’s fantasy. The basic structure of the True History deals with the concept of separate worlds between the living and the dead which is analogous with religious ideals. Parody and allusion are used constantly to create Utopian visions combining history and myth to answer questions of the mind and soul.[4][5] The True History is a means of commenting on the existing or potential conditions of Lucian’s field and society in fantastical settings. This is not so far removed from the political and social criticism of modern Science Fiction, for, in the ancient context especially; philosophy incorporates not only metaphysical, but also political and scientific concerns.
[1] Therefore even the whole world is not wide enough for the soaring range of human thought, but man’s mind often overleaps the very bounds of space. When we survey the whole circle of life, and see it abounding everywhere in what is elegant, grand, and beautiful, we learn at once what is the true end of man’s being. 4 And this is why nature prompts us to admire, not the clearness and usefulness of a little stream, but the Nile, the Danube, the Rhine, and far beyond all the Ocean.
[2] I shall, I think, be right in following the principle laid down by Aratus in the line, “With Jove let us begin,” and in beginning with Homer. He is like his own conception of Ocean,which he describes as the source of every stream and river; for he has given us a model and an inspiration for every department of eloquence.
[3] “He said that on descending into the oracular crypt his first experience was of profound darkness; next, after a prayer, he lay a long time not clearly aware whether he was awake or dreaming. It did seem to him, however, that at the same moment he heard a crash and was struck on the head, and that the sutures parted and released his soul. As it withdrew and mingled joyfully with air that was translucent and pure, it felt in the first place that now, after long being cramped it had again found relief, and was growing larger than before, spreading out like a sail; and next that it faintly caught the whir of something revolving overhead with a pleasant sound. When he lifted his eyes the earth was nowhere to be seen; but he saw islands illuminated by one another with soft fire, taking on now one colour, now another, like a dye, as the light kept varying with their mutations.
[4] Utopian visions – utopian philosophical schemes, such as Plato, may also have been an important source for Lucian; these are parodied most extensively in the visit to the Isle of the Blessed, but some of the details of the life of the moonmen seem to be drawn from utopian visions – (ferguson (1975), Doyne Dawson (1992)
[5] Swanson (1975) suggests that Lucian’s VH ‘exposes philosophy, ostensibly a mode of inquiry into truth, as being patently effective, once it has come to a terminus in belief, only to the degree that it serves falsehood’ and proposes that the narrative can best be categorized as “philosophical science fiction”. P.230-231
[A1]The man in the moone – Page 135
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Collected Ancient Greek Novels – Page 619
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Lucian and the Latins: humor and humanism in the early Renaissance – Page 187
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books.google.com.auLucian (of Samosata.) – 1902 – 117 pages – Snippet view
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Homosexuality in Greece and Rome: a sourcebook of basic documents – Page 471
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Utopian thought in the Western World – Page 103
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The Historical Background to Zombie Mythology
I have been watching the TV show The Walking Dead, excellent by the way, and I came to wonder the specific historical background behind the Zombie character. It is fairly well known that there are origin stories in the traditions of South America but as a Graeco-Roman historian I wondered also about European origins.
Zombie comes from the Haitian Creole ‘zonbi’ or the North Mbundu ‘nzumbe’ expressing the idea of an animated corpse being brought back to life. However, originally it was used in the metaphoric sense to describe someone bereft of consciousness. West African Vodun tenets explain that a corpse can be reanimated by a sorcerer to whom they remain in control with no personal will. Funnily enough there is also the idea of a zombie astral where these animated beings are kept in bottles to sell for luck quite like the idea of a genie. South Africa also has the idea of zombies where some places believed that one can be created by a child through the use of the right words of power. The Tibetans have the idea of a Ro-Langs meaning literally a corpse that rises up created by a spirit or magician which cannot bend at the joints. The Chinese interestingly also have the idea of the Kiangshi which was known as a ‘hopping’ vampire or zombie.
Let us now look into Greek mythology; the idea of the undead becomes more varied throughout time and locations, in the case of Greece the closest we get are probably the Keres who were female death-spirits. They were the daughters of Nyx, sisters of fate, death and sleep among others. While in contrast to other ideas of zombies, the Keres were wilful creatures, they express the similar and time long idea of the dark and frightening side of death and the end of humanity which is personified throughout history and literature. For instance, the dead rising from their graves in Revelations. The Keres had that thirst for flesh and blood that we see in popular fiction, brought death with an association with Cerberus and are mentioned throughout Greek literature including: Homer’s Iliad IX.410ff and the Odyssey XII.158. Additionally the Keres had connection to battles as deities of war choosing those who shall meet their doom. Some have chosen because of this to compare them to Valkyries but where as Valkyries are benevolent, Keres are definitely depicted as malevolent and this idea is where the Keres get their name from; Keres ‘choice’.
In Roman mythology we see the Lemures who again were spirits of the malignant dead personified in the likes of Horace and Ovid’s Fasti. Again though the Lemures are willful creatures, rather than the will-less undead of the Haitian and African traditions, being vengeful. They were believed to be created when an individual was not afforded a proper burial or mourned by the living or given tomb offerings. Additionally though Ovid expresses them as ancestral gods or spirits of the underworld.
The Norse traditions have the Draugr who shares many traits of the modern fictional character. They were literally ‘ones who walks after death’ or spirits that inhabited the graves of the dead and animated the bodies. Like in much of popular culture they carry the stench of decay and retain only some sense of intelligence only in the suffering that they cause, devouring the flesh of the living and being immune to weapons. Strangely though the Norse believed that Draugr could increase their size at will and had superhuman strength and some maintain more intelligence with magical abilities. Examples of binding spells have been found on Norse Runestones to keep the dead in their graves.
There are many other examples of similar ideologies and traditions relating to both the Zombie and Vampire myths, often overlapping. In fact there are far too many to list and discuss here. But it is always interesting to explore origin stories in order to understand the human side in the supernatural; the natural and evolved fears and dreads embedded in the Human psyche that have exhibited themselves in similar but varying ways throughout the world.
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Why I Blog about Archaeology
So Doug’s Archaeology Page is asking archaeology bloggers monthly questions and thus here is my answer. This month the question is why blogging? Why did you start a blog? Why are you still blogging? Doug, author of the blog Doug’s Archaeology, will be hosting a blogging carnival on the subject of archaeology and blogging in the lead-up to next year’s Society for American Archaeology (SAA) conference.
Why did I start blogging about Archaeology?
I started this blog at the end of 2011 as a way to escape the monotony of PhD writing and as a means of productive procrastination. It started as a way to simply continue my love of research into ancient history and archaeology while the rest of my life was dedicated to one subject but it developed significantly over time.
Also simply I love archaeology!
Why did I continue to blog about archaeology?
As I continued my PhD and my archaeological digs and started to teach students at my university and in the field, I realised just how much university doesn’t actually teach you about archaeology; and just how little people know about the subject even if they have watched every available episode of Time Team. The significance of archaeology, the tools, the enthusiasm behind it, the practice versus the theory, the hard work and dedication, the thrill and exhaustion.
There is a highly romanticised view of archaeology that I see in the eyes of students even on the first day of a dig which can lead to a lot of disappointment for them. We are not Indiana Jones, nor are we perfectionists with tiny tools. Blogging became a way of giving people who were interested a non romaticised view and show them that despite the lack of whips and Nazis it can be just as exciting for different reasons.
Academia has also revealed that there is unfortunately a rather snobbish air in the industry. All to often I see academics and students hold their knowledge to their chests and hiss at anyone who comes near it, there is that sense of competition which is seen far too often. Fortunately my professors are not like that but I certainly understand why students are terrified of asking questions some times.
The reason I wanted to go into academia was to spread knowledge, not just engage in my own interests but develop the interests of others, to teach and encourage students to learn and question, analyse and compare. While one can do that through universities, there are all those people outside the institutions and departments who do have an interest in this field but do not have the resources to develop it. So I continue this blog also for them to give them the resources and dispel some of the myths, to move away from the dramatised rubbish now often on TV.
Over the past year and a half of blogging I have also met and developed friendships with a number of interesting and excellent people. Networking in archaeology has never been so effective. It has been wonderful to hear their stories, help them and for them to help me.
So I blog for myself: To continue my interest, as productive procrastination
I blog for students: To answer questions that they are scared to or haven’t thought to ask
I blog for the wider audience: To spread the knowledge and give them resources
I hope I have been able to do some of these things and always appreciate your comments and feedback. 🙂
Related articles
- Archaeology Travel Blog 2013 (graecomuse.wordpress.com)
- Blogging Archaeology (dougsarchaeology.wordpress.com)
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Productive Procrastination: Some Documentaries on History, Anthropology and Archaeology
Hello lovely followers, I am very busy at the moment and unfortunately haven’t been giving you the attention you deserve. I am moving to America, starting a new job, finishing a PhD and moving into a new house. So in case you don’t hear from me in a while here are some wonderful documentaries for you to watch, some of my favourites. 🙂
Incredible Human Journey
Dr Alice Roberts travels the globe to discover the incredible story of how humans left Africa to colonise the world — overcoming hostile terrain, extreme weather and other species of human. She pieces together precious fragments of bone, stone and new DNA evidence and discovers how this journey changed these African ancestors into the people of today.
Around the World in 80 Faiths
Very interesting and educational series. Around the World in 80 Faiths is a British television series which was first broadcast by the BBC on 2 January 2009. The series is presented by the Anglican vicar, Pete Owen-Jones, who is researching the various faiths from around the world.
Episode 1 – Australasia and The Pacific Ring of Fire
The Bible’s Buried Secrets [BBC]
Stavrakopoulou visits key archaeological excavations where ground-breaking finds are being unearthed, and examines evidence for and against the Biblical account of King David. She explores the former land of the Philistines, home of the giant Goliath, and ruins in the north of Israel and in old Jerusalem itself purporting to be remains of David’s empire.
Episode 1: Did King David’s Empire Exist?
Episode 2: Did God Have a Wife?
Episode 3: The Real Garden of Eden
B B C “Η πόλη κάτω από τα κύματα: Παυλοπέτρι” – Pavlopetri – The City Beneath the Waves
The underwater city of Pavlopetri, a city that thrived for 2,000 years during the time that saw the birth of Western civilisation, lies less than five metres below the surface and is littered with thousands of fragments, the remains of stone buildings and a complex of city streets.
The Minoans: Ancient Civilization of Crete – Bettany Hughes (2004)
Bettany Hughes visits Crete to recount the story one of the greatest archaeological discoveries ever made.
The Minotaur’s Island – Bettany Hughes (2003)
Best known for the myth of the Minotaur — a monstrous half-man, half-bull imprisoned in Daedalus’s labyrinth — Crete gave birth to Europe’s first civilization nearly 5,000 years ago, more than two millennia before Homer composed The Iliad. Then it collapsed in fire and violence.
Delphi • The Bellybutton of the Ancient World • © BBC (full documentary)
Very professional and interesting BBC production on the rise and fall of Delphi as the centre of the Greek world.
Titanic: The Survivors’ Story (1997)
In Search of Myths and Heroes – Michael Wood
In this series, Michael Wood goes in search of four of the world’s most famous myths. These gripping adventures take the viewer to some of the most extraordinary places on earth, exploring stories that have captivated the world for thousands of years.
The Queen Of Sheba
Jason And The Golden Fleece
Shangri-La
King Arthur
National Geographic Video – Mass Decapitations
Mass Decapitations in Southern England
What violent event caused this many beheadings?
The Christ Files – Dr John Dickson
Historian Dr John Dickson sets out to discover what we can know for certain about the life of one of history’s best known and most influential figures. In a captivating journey across the globe, Dr Dickson examines ancient documents and consults the world’s most respected historians and scholars. Beginning with the Gnostic Gospels, he criss-crosses continents on a search back through time for the historical sources that reveal the real Jesus— a search for The Christ Files.
GraecoMuse 