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"This is a stimulating book and should be compulsory reading for all students of Roman art." ---Classical Review "For all the authors, attention to the ensemble, a sense of the relation between the formal and the iconographic, and the desire to historicize their material contribute to making this anthology unusual in its rigorous and creative attention to the way that art and architecture participate in the construction of the image of the Roman elite." ---Art Bulletin Roman Art in the Private Sphere presents an impressive case for the social and art historical importance of the paintings, mosaics, and sculptures that filled the private houses of the Roman elite. The six essays in this volum...
This well-illustrated volume, written by experts, is an all-embracing survey of The World of Pompeii, the town of Herculaneum and the many urban and rural villas.
The calamity that proved lethal for Pompeii inhabitants preserved the city for centuries, leaving behind a snapshot of Roman daily life that has captured the imagination of generations, including Renoir, Freud, Hirohito, Mozart, Dickens, Twain, Rossellini, and Ingrid Bergman. Interwoven is the thread of Ingrid Rowland's own impressions of Pompeii.
Spine title: U.S. Marines in Vietnam, 1973-1975.
Pompeii, Herculaneum, and Rome have yielded hundreds of wall paintings from domestic buildings. Greek myths and tragedies, especial by Euripides were visually represented. Balch presents an interdisciplinary study inquiring what earliest Jews and Christian in such houses might have been seeing as they read and interpreted scripture and performed core rituals, especially the Eucharist. This recent study of Roman domestic architecture suggests new perspectives on the social history of early Christianity.--Publisher.
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
Current philosophical discussions of self-deception remain steeped in disagreement and controversy. In The Self-Deceiving Muse, Alan Singer proposes a radical revision of our commonplace understanding of self-deception. Singer asserts that self-deception, far from being irrational, is critical to our capacity to be acute &"noticers&" of our experience. The book demonstrates how self-deception can be both a resource for rational activity generally and, more specifically, a prompt to aesthetic innovation. It thereby provides new insights into the ways in which our imaginative powers bear on art and life. The implications&—philosophical, aesthetic, and ethical&—of such a proposition indicate the broadly interdisciplinary thrust of this work, which incorporates &"readings&" of novels, paintings, films, and video art.
Bringing together studies of archaeological method and analysis with detailed work of historical interpretation, the papers here demonstrate how analysis informed by multiple disciplines sheds new light on such important topics as the end of Antiquity, the so-called Byzantine Dark Ages, the contours of the emerging Byzantine civilization, and the complex character of identity in post-medieval Greece. More broadly, this volume shows how the study of the material culture of post-classical Greece has made significant contributions to both the larger archaeological and historical discourse.
Today, the reality we know can be recorded and reproduced true to reality using technical processes. Space and time are recreated virtually as a copy in artificial reality. However, the reproduction of virtual reality is not limited to a mere copy of what exists. A visitor to the virtual space does not have to be content with the pixelated image of the old familiar, but can encounter unreal phenomena in the illusory world that never existed in real life or are even physically impossible. This enables an expansion of the recorded reality and allows the perception of surprisingly new perspectives. A perspective denotes the perception of a fact from a certain point of view and corresponds to th...