Sources of Greece Accommodation information from the Web
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One of the earliest attempts to give a theology to the Greek religion is found in the works of the poet Hesiod, whose Theogony provides a creation myth focusing on deified abstractions like Night and Time. The decision as to which deities were considered major enough to number among the Twelve Olympians who were the chief gods of the pantheon was no doubt a political decision, at least in part. Because most of the gods were originally local, and inconsistent stories were told of them from one locality to another, the faith of the ancient Greeks resisted systematization, at least at first. Socrates and other philosophers were accused of atheism by the populists of Athens when they pointed out the difficulties in accepting the received ideas about the gods as a whole. Yet Socrates' view of the gods was ultimately to triumph; as time went on, the traditional piety of the sacrificial rites tended to be dismissed as a sort of folklore, while those who were philosophically minded tended to believe in abstract, remote, and genteel gods who vaguely acted to uphold social norms and public virtues.
Recent economic performance has been satisfying. However the challenge for policymakers now is to avoid an economic slump after the enthusiasm of the Games has gone and the EU farm subsidies get cut in 2006.
About 80% of Greece consists of mountains or hills. Dry and rocky conditions prevail in much of the country is ; only 28% of the land classes as arable. Western Greece contains lakes and wetlands. Pindus, the central mountain range, has an average elevation of 2,650 m. Mount Olympus forms the highest point in Greece at 2,911 m above sea level.
During this period sculpture became more and more naturalistic. Common people, women, children, animals and domestic scenes became acceptable subjects for sculpture, which was commissioned by wealthy families for the adornment of their homes and gardens. Realistic portraits of men and women of all ages were produced, and sculptors no longer felt obliged to depict people as ideals of beauty or physical perfection. At the same time, the new Hellenistic cities springing up all over Egypt, Syria, and Anatolia required statues depicting the gods and heroes of Greece for their temples and public places. This made sculpture, like pottery, an industry, with the consequent standardisation and some lowering of quality. For these reasons many more Hellenistic statues have survived than is the case with the Classical period.
The Greeks decided at a very early period that the human form was the most important subject for artistic endeavour. Since they saw their gods as having human form, there was no distinction between the sacred and the secular in art — the human body was both secular and sacred. A male nude could just as easily be Apollo or Herakles or that year's current Olympic boxing champion. In the Archaic Period the most important sculptural form was the kouros (plural kouroi), the standing male nude (See for example Biton and Kleobis). The kore (plural korai), or standing female figure, was also common, but since Greek society did not permit the public display of female nudity until the 4th century BC, the kore is considered to be of less importance in the development of sculpture.
Finally every Greek town had a theatre. These were used for both public meetings as well as dramatic performances. These performances originated as religious ceremonies; they went on to assume their Classical status as the highest form of Greek culture by the 6th century BC (see Greek theatre). The theatre was usually set in a hillside outside the town, and had rows of tiered seating set in a semi-circle around the central performance area, the orchestra. Behind the orchestra was a low building called the skene, which served as a store-room, a dressing-room, and also as a backdrop to the action taking place in the orchestra. A number of Greek theatres survive almost intact, the best known being at Epidaurus.
Some of the earliest popular music stars from Crete were Mountakis and Skordalos. Later, in the 1960s, musicians like Niko Xylouris and Yiannis Markopoulos combined Cretan folk music with classical techniques. Some Cretans felt that this was unpatriotic, and Xylouris especially was criticized relentlessly. Nevertheless, he remained popular, as did similarly-styled performers like Charalambos Garganourakis. The film Zorba the Greek also helped to expand the audience for Cretan folk music; popularity peaked from about the middle of the 1970s to the middle of the 1980s.
As noted above, the Archaic age is usually dated from about 1000 BC, although in reality little is known about art in Greece during the preceding 200 years (traditionally known as the Dark Ages). The onset of the Persian Wars (480 BC to 448 BC) is usually taken as the dividing line between the Archaic and the Classical periods, and the reign of Alexander the Great (336 BC to 323 BC) is taken as separating the Classical from the Hellenistic periods.
Difficulties often arise in pinning down the ideas of the Pre-Socratic philosophers, and in determining the actual line of argument they used in supporting their particular views. This problem arises not from some defect in the men themselves or in their ideas, but simply from their separation from us in history. While most of these men produced significant texts, we have no complete versions of any of those texts. We have only quotations by later philosophers and historians, along with the occasional textual fragment.
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