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Fakes and forgeries are objects of fascination. This volume contains a series of thirteen articles devoted to fakes and forgeries of written artefacts from the beginnings of writing in Mesopotamia to modern China. The studies emphasise the subtle distinctions conveyed by an established vocabulary relating to the reproduction of ancient artefacts and production of artefacts claiming to be ancient: from copies, replicas and imitations to fakes and forgeries. Fakes are often a response to a demand from the public or scholarly milieu, or even both. The motives behind their production may be economic, political, religious or personal – aspiring to fame or simply playing a joke. Fakes may be revealed by combining the study of their contents, codicological, epigraphic and palaeographic analyses, and scientific investigations. However, certain famous unsolved cases still continue to defy technology today, no matter how advanced it is. Nowadays, one can find fakes in museums and private collections alike; they abound on the antique market, mixed with real artefacts that have often been looted. The scientific community’s attitude to such objects calls for ethical reflection.
The Treaty of Ghent signed in 1814, ending the War of 1812, allowed Americans once again to travel abroad. Medical students went to Paris, artists to Rome, academics to Göttingen, and tourists to all European capitals. More intrepid Americans ventured to Athens, to Constantinople, and even to Egypt. Beginning with two eighteenth-century travelers, this book then turns to the 25-year period after 1815 that saw young men from East Coast cities, among them graduates of Harvard, Yale, and Columbia, traveling to the lands of the Bible and of the Greek and Latin authors they had first known as teenagers. Naval officers off ships of the Mediterranean squadron visited Cairo to see the pyramids. Two...
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This book is a long-awaited comprehensive monograph on the artist, whose importance had already been established through numerous articles and past exhibitions. The two authors examined hundreds of works by Favray (and others attributed to him), both in Malta and overseas, and a vast number of these are reproduced in this book. The first four chapters of the book feature Favrays transition from Paris to Rome, his first Maltese stay, his Turkish Adventure, and his second Maltese sojourn respectively. Chapter 5 is devoted to his drawings, whilst in Chapter 6 his Followers and Discredits are discussed. The two authors join forces in bringing us this meticulously researched and excellently prese...
Six siècles de liens incessants entre l'Empire Turc et l'Occident. Au fil des siècles, l'Europe, toujours méfiante, a souhaité percer les secrets de la civilisation ottomane, et fut bientôt fascinée par elle. Contrairement à l'idée reçue, ces deux mondes, toujours rivaux, ne s'ignoraient pas. Au XVIIIe siècle, l'Empire ottoman lui-même consent à s'ouvrir à l'Occident et emprunte progressivement recettes militaires, méthodes gouvernementales, réussites scolaires, une partie de sa législation, manières architecturales, usages vestimentaires... Depuis le XIXe siècle, la " tentation de l'Occident " le dispute à l'ancrage dans l'islam ; ambivalence que l'on retrouve jusqu'à Erdogan. A la logique de guerre (dont elle suit les principales étapes), cette histoire croisée ajoute – en prenant prétexte d'une personnalité, d'un objet, d'une œuvre d'art – l'analyse d'une rencontre entre deux sphères culturelles qui, tout en se déchirant, ont toujours communiqué.