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Who was Antonius? Why did he become a God? in Beloved and God, Royston Lambert tackles all the mysteries the story presents. With many illustations of the people and places concerned in the affair and of the splendid and fascinating artefacts which it produced, this account, based on thorough research, is a compelling read.
"Antinous: Boy Made God is the catalogue of an exhibition that center's around one of the most important surviving portraits of Antinous, an inscribed bust from Syria found in 1879 and currently in a private collection. The piece is basically unpublished and will be presented for the first time to the wider public in this volume. Other key portraits, as well as coins of Antinous, medals and bronze figurines, feature here, and help contextualise the image of this country boy who was greatly loved by the Emperor Hadrian and became a hero and a god within the Empire. The exhibition and the book's narrative highlight the range and variety of Antinous' reception and shows how the fascination and reach of his image went well beyond antiquity into the modern world. It reconstructs a visual biography of an extraordinarily fascinating figure, representing an ideal of perfect beauty for many centuries after his tragic death."--Publisher's website.
Eros and Thanatos converge in the story of a glorious youth, an untimely death, and an imperial love affair that gives rise to the last pagan god of antiquity. In this coming-of-age novel set in the second century AD, Antinous of Bithynia, a Greek youth from Asia Minor, recounts his seven-year affair with Hadrian, fourteenth emperor of Rome. In a partnership more intimate than Hadrian's sanctioned political marriage to Sabina, Antinous captivates the most powerful ruler on earth both in life and after death.This version of the affair between the emperor and his beloved ephebe vindicates the youth scorned by early Christian church fathers as a "shameless and scandalous boy" and "sordid and loathsome instrument of his master's lust." EROMENOS envisions the personal history of the young man who achieved apotheosis as a pagan god of antiquity, whose cult of worship lasted for hundreds of years-far longer than the cult of the emperor Hadrian. In EROMENOS, the young man Antinous, whose beautiful image still may be found in works of art in museums around the world, finds a voice of his own at last.
This book explores how Roman imperial power was constructed and contested through the representation of sexual relations.
Gender and the Body in Greek and Roman Sculpture offers incisive analysis of selected works of ancient art through a critical use of cutting-edge theory from gender studies, body studies, art history and other related fields. The book raises important questions about ancient sculpture and the contrasting responses that the individual works can be shown to evoke. Rosemary Barrow gives close attention to both original context and modern experience, while directly addressing the question of continuity in gender and body issues from antiquity to the early modern period through a discussion of the sculpture of Bernini. Accessible and fully illustrated, her book features new translations of ancient sources and a glossary of Greek and Latin terms. It will be an invaluable resource and focus for debate for a wide range of readers interested in ancient art, gender and sexuality in antiquity, and art history and gender and body studies more broadly.
"An Obscene Diary The Visual World of Sam Steward" chronicles the extraordinary visual world of a talented and largely unknown, writer, artist, photographer, and sexual outlaw. The edition, limited to 1,000 copies presents a diverse and powerful collection of drawings, paintings, sculptures, decorative objects, illustrations and photographs that are remarkably varied in style, and often quite contradictory in mood and tone.
The moving story of Hadrian and Antinous has spanned the ages not only as the bond of two men's love, but equally as an eternal mystery as to why a youth forfeited his life to perpetuate that of his lover. The book is an historical work, as historically correct as I could make it. Naturally most of the book concerns Hadrian because we known far more about his life than we do about the Bithynian Greek youth. There is also a heavy emphasis on the times in which they lived and the times that preceded them, as they played indelible roles in the two men's lives: indeed, they molded them. Hadrian wanted to live forever and felt he possessed the intellectual and financial means to achieve that goal—perhaps he even sacrificed the boy he loved to attain that goal. In Hadrian and Antinous we'll investigate the difference between man-to-man relations in Rome and pederasty in Athens, and we'll learn why Antinous drowned and why he become, for the first time in history, the first boyfriend ever to be deified. Women are essential to our story but the ancient world was a man's world, as is ours, and Hadrian and Antinous is, at its base, the story of men and boys who prefer the world of other men and boys.
He explains when and where in Melville's wanderings throughout America, Europe, and the Near East he saw these works, then describes how Melville made use of the life and work of these artists in his own fiction and poetry. The collection includes new essays on Moby Dick and J.M.W. Turner; Melville's fascination with Dutch genre painting; his appropriation of work by Cole and Vanderlyn for his magazine fiction; his use of early representations of the plague in Israel Potter; the relationship between the satirical cartoons of Daumier and the figures of The Confidence-Man; Timoleon's many artistic subjects; and the power of classical icons to shape the moral and aesthetic conflicts in Billy Budd. Also found here are theoretical essays on Melville and the picturesque; the modernism of Melville's aesthetic vision; his "anti-architectural" theory of literature; and his extensive reading in art history and art theory, from the classical to his own period.