Michael Vickers – författare

Athens at the time of the Peloponnesian war was the arena for a dramatic battle between politics and religion in the hearts and minds of the people. Fear and Loathing in Ancient Athens, originally published in German but now available for the first time in an expanded and revised English edition, sheds new light on this dramatic period of history and offers a new approach to the study of Greek religion. The book explores an extraordinary range of events and topics, and will be an indispensable study for students and scholars studying Athenian religion and politics.

Athens at the time of the Peloponnesian war was the arena for a dramatic battle between politics and religion in the hearts and minds of the people. Fear and Loathing in Ancient Athens, originally published in German but now available for the first time in an expanded and revised English edition, sheds new light on this dramatic period of history and offers a new approach to the study of Greek religion. The book explores an extraordinary range of events and topics, and will be an indispensable study for students and scholars studying Athenian religion and politics.

The Lady Gardeners to whom the chapters of this book are devoted are those women who, from the eighteenth century to the present day, have been working in a garden, from imagining and creating it, to sowing, planting, pruning, painting and photographing plants, and moving from garden design to more urgent themes such as landscape conservation and environmental issues.

However, and this is the reason why this collection differs from other excellent models that deal with women and gardens, the essays also dwell on the personal lives and experiences of women who have lived in gardens, and enjoyed landscape, jotting simple notes in their diaries or working as landscape architects, describing it in stories for children, portraying strange exotic plants in their paintings, assembling bunches of flowers to decorate their home, and defending such spaces with their strong commitment to preservation. From England, and its long well-documented garden history, they have moved to Africa, the Americas, Australia, New Zealand, the Far East: the chapters in this book thus also confirm the vocation of the English garden that can enlarge its boundaries, transform and adapt itself to modern times and distant climates without foregoing its old roots. 

The conventional view of Aristophanes bristles with problems. Important testimony for Alcibiades’ paramount role in comedy is consistently disregarded, and the tradition that “masks were made to look like the komodoumenoi, so that before an actor spoke a word, the audience would recognize who was being attacked” is hardly ever invoked. If these testimonia are taken into account, a fascinating picture emerges, where the komodoumenoi are based on the Periclean household: older characters on Pericles himself, younger on Alcibiades. Aspasia, Pericles’ mistress, and Hipparete, Alcibiades’ wife, lie behind many female characters, and Alcibiades’ ambiguous sexuality also allows him to be shown on the stage as a woman, notably as Lysistrata. There is a substantial overlap between the anecdotal tradition relating to the historical figures and the plotting of Aristophanes’ plays. This extends to speech patterns, where Alcibiades’ speech defect is lampooned. Aristophanes is consistently critical of Alcibiades’ mercurial politics, and his works can also be seen to have served as an aide-mémoire for Thucydides and Xenophon. If the argument presented here is correct, then much current scholarship on Aristophanes can be set aside.

The conventional view of Aristophanes bristles with problems. Important testimony for Alcibiades’ paramount role in comedy is consistently disregarded, and the tradition that “masks were made to look like the komodoumenoi, so that before an actor spoke a word, the audience would recognize who was being attacked” is hardly ever invoked. If these testimonia are taken into account, a fascinating picture emerges, where the komodoumenoi are based on the Periclean household: older characters on Pericles himself, younger on Alcibiades. Aspasia, Pericles’ mistress, and Hipparete, Alcibiades’ wife, lie behind many female characters, and Alcibiades’ ambiguous sexuality also allows him to be shown on the stage as a woman, notably as Lysistrata. There is a substantial overlap between the anecdotal tradition relating to the historical figures and the plotting of Aristophanes’ plays. This extends to speech patterns, where Alcibiades’ speech defect is lampooned. Aristophanes is consistently critical of Alcibiades’ mercurial politics, and his works can also be seen to have served as an aide-mémoire for Thucydides and Xenophon. If the argument presented here is correct, then much current scholarship on Aristophanes can be set aside.