In Attica, Pallas was a giant apparently related to the sanctuary of Athena at Pallene. Pallene recalled the eponymous Chalcidian region and thus echoed the myth of the Gigantomachy. In some versions, Athena performed the Pyrrhic dance after defeating the giants. In other versions, however, Pallas was also a Titan, the father of Athena and another young woman. This maiden was the alter ego of the goddess and died at the hands of Athena in an hoplomachia. In this paper, I explore the possibility that some representations of a female Pyrrhic dance relating to Athena on red-figure vases may reflect a ritual in fifth-century Athens. This ritual was presumably associated with the Pallenian sanctuary where the Gigantomachy was evoked and a mimêsis of the goddess in arms seems to have taken place.

在阿提卡（Attica），帕拉斯（Pallas）显然是与帕林（Pallene）雅典娜圣所有关的巨人。帕伦（Pallene）回忆起了同名的哈尔基安地区，从而呼应了巨人怪兽的神话。在某些版本中，雅典娜击败巨人后进行了一次Pyrrhic舞蹈。然而，在其他版本中，帕拉斯还是泰坦巨人，是雅典娜的父亲和另一个年轻女子。这个少女是女神的另一个自我，死于雅典娜的一次跳跃之舞。在本文中，我探索了红色雕像花瓶上与雅典娜有关的女性普拉日舞的某些表现形式可能反映出五世纪雅典的一种仪式的可能性。该仪式可能与帕金森庇护所有关，在该庇护所中，巨人兽被唤起并受到模仿 武装女神的雕像似乎已经发生了。