Questions about Medusa and her roots!

1. How does Medusa’s suffering as a victim play a role in the way she is depicted?
2. Why does the author believe so many cultures describing and rendering Medusa as a monster?
3. What is the significance of the snake and the bird in Medusa’s representation? What cultures/other works of art are being drawn from?
4. Why is Medusa’s gaping mouth so important? What does this signal about the cultures that used the gaping mouth? What is the author’s argument about the tomb and womb? (39)
5. How does Medusa symbolize “birth, death, and rebirth?” (33).
6. Why does the author believe the artists began to portray all of Medusa’s figure instead of just her head? (37).
7. Let’s discuss the last paragraph. How is Medusa an example of a women who has been robbed of her power? How does this relate to the rape in the Temple of Athena?


Questions for Shipwreck Article

1. Do you agree with Carlson’s attribution of pseudo-samian amphoras with Erythrae?

2. What is the significance of “resinous black pitch” in amphoras?

3. What are your views on Carlson’s argument that the remains of the shipwreck are indicative of the “local trade networks and overall economic condition” of fifth-century Ionia?

Questions for Ashley’s Article on Archaic Art and Chinese Painting

1. On p. 134 of the article, what does Webster mean by the term “spirit-resonance”? How does an artwork contain “spirit-resonance”?

2. Webster mentions that in Ancient Greek and Chinese times “drawing and writing are far closer than they are to-day.” (P.131). What does this mean in terms to creating the significance of a piece of art?

3. Do you agree with Webster’s argument for substitution instead of representation in art? Which is more important in rendering a great work?