Dorians

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Dorians,

people of ancient Greece. Their name was mythologically derived from Dorus, son of HellenHellen
, in Greek mythology, ancestor of the Hellenes, or Greeks; son of Deucalion and Pyrrha. He was the father of Dorus, Xuthus, and Aeolus, who were the progenitors of the principal nations of the Greeks—the Dorians, the Ionians, the Achaeans, and the Aeolians.
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. Originating in the northwestern mountainous region of Epirus and SW Macedonia, they migrated through central Greece and into the Peloponnesus probably between 1100 and 950 B.C., defeating and displacing the Achaeans. They rapidly extended their influence to Crete and established colonies in Italy, Sicily, and Asia Minor. Sparta and Crete are generally considered as having had the most typical form of Dorian rule—the invaders maintained their separate societies and subjected and enslaved the conquered population. The arrival of the Dorians marked the disruption of the earlier Greek culture and the beginning of a period of decline. Although the cultural level of the Dorians was below that of the Achaeans, the Dorians did contribute to the culture of Greece, e.g., in drama, poetry, sculpture, and especially in the huge stone buildings that marked the beginning of the Doric style of architecture.

Dorians

 

one of the principal ancient Greek tribes. Originally the Dorians inhabited northern and central Greece. At about the beginning of the 12th century B.C., they migrated to southwestern Greece, where they dealt crushing blows to the weakened centers of Achaean Greece—Mycenae, Tiryns, and Pylos. The Dorians, joined by other tribes, brought under their rule Laconia, Messenia, Cynuria, Argolis, Megara, and Corinth on the isthmus. Later, the Dorians colonized the islands of Rhodes, Crete, Thera, Melos, Cos, Calimnos, and the coast of Caria (the cities of Cnidus, Halicarnassus). As early as the eighth to sixth centuries B.C. states similar in both culture and social organization (Sparta, the city-states of Crete, and Argos) were established on the territory settled by the Dorians. These states were characterized by a slaveholding mode of production and by the preservation of numerous survivals of the clan system.

REFERENCES

Shmidt, R. V. “Antichnoe predanie o doriiskom pereselenii.” Vestnik drevnei istorii, 1938, no. 2 [3].
Kazamanova, L. N. Ocherk sotsial’no-ekonomicheskoi istorii Krita v V-IV vv. do n.e. Moscow, 1964.
Kolobova, K. M. Iz istorii rannegrecheskogo obshchestva (o. Rodos IX-VII vv. do n.e.). Leningrad, 1951.

L. N. KAZAMANOVA

References in periodicals archive ?
Dorian has been swimming since she was 7, and her talents as a swimmer were quickly identified.
On returning to the farm, Dorian converted two old stables into a forge and began expanding his clientele, which now ranges from Aberytwyth to Shrewsbury.
Dorian grew up in Switzerland, where he got his degrees in teaching and art.
Dorian says prospective franchise owners don't need to be property experts.
The Picture of Dorian Gray echoes Charles Maturin's (4) gothic novel Melmoth the Wanderer (1820).
Every time Dorian succumbs to temptation, the painting decays.
The narrative becomes less clear in the second, much darker, half as Dorian becomes a murdering monster, and there's not quite as much wit as we're used to, though I did like his spoof of Jonathan Ross's Four Poofs and a Piano.
I had not read the book for some 40 years, but I remember how impressed I had been at the richness of Wilde's prose as he traced the decline of poor Dorian down an ever-increasing spiral of sinfulness and indulgence, keeping his beautiful youthful looks while the painting of him in the attic grew older and older, bearing all the scars of his debauchery.
Classic Novels can make iconic films and adaptations and a regular in such remakes, Colin Firth, appears as Lord Henry Wotton in Dorian Gray, starring opposite protoge Ben Barnes once more in this Oscar Wilde classic.
It is exactly here in the "here below" (Parts of Animals 99) of the earthly realm that Basil Hallward, the principal hero of The Picture of Dorian Gray, finds his tragic struggle: the manifested world is a theatre of continuously questionable attractions for him.