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The Smells and Senses of Antiquity in the Modern Imagination
This volume tackles the role of smell, under-explored in relation to the other senses, in the modern rejection, reappraisal and idealisation of antiquity. Among the senses olfaction in particular has often been overlooked in classical reception studies due to its evanescent nature, which makes this sense difficult to apprehend in its past instantiations. And yet, the smells associated with a given figure or social group convey a rich imagery which in turn connotes specific values: perfumes, scents and foul odours both reflect and mould the ways in which a society thinks or acts. Smells also help to distinguish between male and female, citizens and strangers, and play an important role during...
A Companion to Ancient Aesthetics
The first of its kind, A Companion to Ancient Aesthetics presents a synoptic view of the arts, which crosses traditional boundaries and explores the aesthetic experience of the ancients across a range of media—oral, aural, visual, and literary. Investigates the many ways in which the arts were experienced and conceptualized in the ancient world Explores the aesthetic experience of the ancients across a range of media, treating literary, oral, aural, and visual arts together in a single volume Presents an integrated perspective on the major themes of ancient aesthetics which challenges traditional demarcations Raises questions about the similarities and differences between ancient and modern ways of thinking about the place of art in society
Ancient Christians and the Power of Curses
Ancient Christians and their non-Christian contemporaries lived in a world of 'magic.' Sometimes, they used curses as ritual objects to seek justice from gods and other beings; sometimes, they argued against them. Curses, and the writings of those who polemicized against curses, reveal the complexity of ancient Mediterranean religions, in which materiality, poetics, song, incantation, and glossolalia were used as technologies of power. Laura Nasrallah's study reframes the field of religion, the study of the Roman imperial period, and the investigation of the New Testament and ancient Christianity. Her approach eschews disciplinary aesthetics that privilege the literature and archaeological remains of elites, and that defines curses as magical materials, separable from religious ritual. Moreover, Nasrallah's imaginative use of art and 'research creations' of contemporary Black painters, sculptors, and poets offer insights for understanding how ancient ritual materials embedded into art work intervene into the present moment and critique injustice.
Being Alone in Antiquity
This volume aims to provide an interdisciplinary examination of various facets of being alone in Greco-Roman antiquity. Its focus is on solitude, social isolation and misanthropy, and the differing perceptions and experiences of and varying meanings and connotations attributed to them in the ancient world. Individual chapters examine a range of ancient contexts in which problems of solitude, loneliness, isolation and seclusion arose and were discussed, and in doing so shed light on some of humankind’s fundamental needs, fears and values.
Seeing Color in Classical Art
The remains of ancient Mediterranean art and architecture that have survived over the centuries present the modern viewer with images of white, the color of the stone often used for sculpture. Antiquarian debates and recent scholarship, however, have challenged this aspect of ancient sculpture. There is now a consensus that sculpture produced in the ancient Mediterranean world, as well as art objects in other media, were, in fact, polychromatic. Color has consequently become one of the most important issues in the study of classical art. Jennifer Stager's landmark book makes a vital contribution to this discussion. Analyzing the dyes, pigments, stones, earth, and metals found in ancient art works, along with the language that writers in antiquity used to describe color, she examines the traces of color in a variety of media. Stager also discusses the significance of a reception history that has emphasized whiteness, revealing how ancient artistic practice and ancient philosophies of color significantly influenced one another.
What's in a Divine Name?
Divine Names are a key component in the communication between humans and gods in Antiquity. Their complexity derives not only from the impressive number of onomastic elements available to describe and target specific divine powers, but also from their capacity to be combined within distinctive configurations of gods. The volume collects 36 essays pertaining to many different contexts - Egypt, Anatolia, Levant, Mesopotamia, Greece, Rome - which address the multiple functions and wide scope of divine onomastics. Scrutinized in a diachronic and comparative perspective, divine names shed light on how polytheisms and monotheisms work as complex systems of divine and human agents embedded in an hi...
The Names of the Gods in Ancient Mediterranean Religions
From Greece to Palmyra, Tyre or Babylon, the names of the gods, like 'Thundering Zeus', 'Three-faced Moon', 'Baal of the Force' or the enigmatic YHWH, reveal their history, family ties, fields of competence and capacity for action. Shared or specific, these names bring to light networks of gods: the Saviour gods, the Ancestral gods, the gods of a city or a family. Names tell stories about the relationship between men and gods, gods and places, places and cultures and so on. They show how gods travel and spread, how they appear and disappear, how they participate in the political, social, intellectual history of each community. Through the study of divine names, the twelve chapters of this book unfold a gallery of portraits that reveal the changing aspects of the divine throughout the ancient Mediterranean.
Dynamics of Religion
Religious ideas, practices, discourses, institutions, and social expressions are in constant flux. This volume addresses the internal and external dynamics, interactions between individuals, religious communities, and local as well as global society. The contributions concentrate on four areas: 1. Contemporary religion in the public sphere: The Tactics of (In)visibility among Religious Communities in Europe; Religion Intersecting De-nationalization and Re-nationalization in Post-Apartheid South Africa; 2. Religious transformations: Forms of Religious Communities in Global Society; Political Contributions of Ancestral Cosmologies and the Decolonization of Religious Beliefs; Esoteric Tradition as Poetic Invention; 3. Focus on the individual: Religion and Life Trajectories of Islamists; Angels, Animals and Religious Change in Antiquity and Today; Gaining Access to the Radically Unfamiliar in Today’s Religion; Religion between Individuals and Collectives; 4. Narrating religion: Entangled Knowledge Cultures and the Creation of Religions in Mongolia and Europe; Global Intellectual History and the Dynamics of Religion; On Representing Judaism.
The Oxford Handbook of Decadence
The Oxford Handbook of Decadence provides the most thorough examination of decadence to date by exploring the ramifications of this culture in different times and places, from ancient Rome to contemporary America. Thirty-five wide-ranging chapters address decadence not only in literature, but also in film, fashion, architecture and more, as well as in such fields as theology, science, psychoanalysis, philosophy, and politics.
In Search of the Phoenicians
Who were the ancient Phoenicians—and did they actually exist? The Phoenicians traveled the Mediterranean long before the Greeks and Romans, trading, establishing settlements, and refining the art of navigation. But who these legendary sailors really were has long remained a mystery. In Search of the Phoenicians makes the startling claim that the "Phoenicians" never actually existed as such. Taking readers from the ancient world to today, this book argues that the notion of these sailors as a coherent people with a shared identity, history, and culture is a product of modern nationalist ideologies—and a notion very much at odds with the ancient sources.
