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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...
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
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.
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.
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.
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.
In Individuals and Materials in the Greco-Roman Cults of Isis Valentino Gasparini and Richard Veymiers present a collection of reflections on the individuals and groups which animated one of Antiquity’s most dynamic, significant and popular religious phenomena: the reception of the cults of Isis and other Egyptian gods throughout the Hellenistic and Roman worlds. These communities, whose members seem to share the same religious identity, for a long time have been studied in a monolithic way through the prism of the Cumontian category of the “Oriental religions”. The 26 contributions of this book, divided into three sections devoted to the “agents”, their “images” and their “practices”, shed new light on this religious movement that appears much more heterogeneous and colorful than previously recognized.
Women and the Collaborative Art of Gardens explores the garden and its agency in the history of the built and natural environments, as evidenced in landscape architecture, literature, art, archaeology, history, photography, and film. Throughout the book, each chapter centers the act of collaboration, from garden clubs of the early twentieth century as powerful models of women’s leadership, to the more intimate partnerships between family members, to the delicate relationship between artist and subject. Women emerge in every chapter, whether as gardeners, designers, owners, writers, illustrators, photographers, filmmakers, or subjects, but the contributors to this dynamic collection unseat ...
SENSORIVM publishes the first results of a collective investigation into how Roman rituals smelled, sounded, felt and struck the eye. It brings Roman religious experience into the realm of the senses.