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What happened when creative biographers took on especially creative subjects (poets, artists and others) in Greek and Roman antiquity? Creative Lives in Classical Antiquity examines how the biographical traditions of ancient poets and artists parallel the creative processes of biographers themselves, both within antiquity and beyond. Each chapter explores a range of biographical material that highlights the complexity of how readers and viewers imagine the lives of ancient creator-figures. Work in the last decades has emphasized the likely fictionality of nearly all of the ancient evidence about the lives of poets, as well as of other artists and intellectuals; this book now sets out to show what we might nevertheless still do with the rich surviving testimony for 'creative lives' - and the evidence that those traditions still shape how we narrate modern lives too.
This book examines how the biographical traditions of ancient poets and artists parallel the creative processes of biographers themselves, both within antiquity and beyond. Each chapter explores a range of biographical material that highlights the complexity of how readers and viewers imagine the lives of ancient creator-figures.
What happened when creative biographers took on especially creative subjects (poets, artists and others) in Greek and Roman antiquity? Creative Lives in Classical Antiquity examines how the biographical traditions of ancient poets and artists parallel the creative processes of biographers themselves, both within antiquity and beyond. Each chapter explores a range of biographical material that highlights the complexity of how readers and viewers imagine the lives of ancient creator-figures. Work in the last decades has emphasized the likely fictionality of nearly all of the ancient evidence about the lives of poets, as well as of other artists and intellectuals; this book now sets out to show what we might nevertheless still do with the rich surviving testimony for 'creative lives' - and the evidence that those traditions still shape how we narrate modern lives too.
The Ancient Lives of the poet Virgil, written in prose (and sometimes in verse), have long enjoyed great, though controversial, influence. Modern critics have often been scornful of these Lives, for trying to construct biography of the poet from allegorical reading of his verse. Yet some elements of the Lives are trusted, and quietly adopted as canonical, most notably the dating of Virgil's death. Some vignettes in the Lives have been cherished for their image of an emotive poet, as when Virgil, by evoking in verse the premature death of Augustus' nephew Marcellus, caused the young man's bereaved mother to faint. Less romantic detail from the Lives, as of Virgil's privileged material circumstances at the heart of the Augustan regime, has been less regarded. The present volume, from a distinguished international team, aims to revalue the Ancient Lives of Virgil from a variety of angles and in a variety of scholarly genres. The allegory within the Lives is here studied for its own sake, and shown to be part of a developed Graeco-Roman school of interpretation. The literary character of the verse Life attributed to Phocas is respectfully analysed. Certain political references within the best-known prose Life, the `Suetonian-Donatan', are shown to be apparently independent of allegory, and to be worth prospecting for new information on the poet's personal history. And ideas of Virgil received and developed with brio in the Middle Ages and the Renaissance are here traced back to the Ancient Lives of the poet composed in Antiquity.
Brill's Companion to Theocritus offers an up-to-date guide to a thorough understanding of Theocritus’ literary output. Exploring his corpus from a variety of novel perspectives, it presents a detailed account of the intricacy of Theocritus’ poetic art.
An accessible modern translation of essential speeches from Thucydides’s History that takes readers to the heart of his profound insights on diplomacy, foreign policy, and war Why do nations go to war? What are citizens willing to die for? What justifies foreign invasion? And does might always make right? For nearly 2,500 years, students, politicians, political thinkers, and military leaders have read the eloquent and shrewd speeches in Thucydides’s History of the Peloponnesian War for profound insights into military conflict, diplomacy, and the behavior of people and countries in times of crisis. How to Think about War presents the most influential and compelling of these speeches in an elegant new translation by classicist Johanna Hanink, accompanied by an enlightening introduction, informative headnotes, and the original Greek on facing pages. The result is an ideally accessible introduction to Thucydides’s long and challenging History. Thucydides intended his account of the clash between classical Greece’s mightiest powers—Athens and Sparta—to be a “possession for all time.” Today, it remains a foundational work for the study not only of ancient history but also contemporary politics and international relations. How to Think about War features speeches that have earned the History its celebrated status—all of those delivered before the Athenian Assembly, as well as Pericles’s funeral oration and the notoriously ruthless “Melian Dialogue.” Organized by key debates, these complex speeches reveal the recklessness, cruelty, and realpolitik of Athenian warfighting and imperialism. The first English-language collection of speeches from Thucydides in nearly half a century, How to Think about War takes readers straight to the heart of this timeless thinker.
In The Mirror of Antiquity, Caroline Winterer uncovers the lost world of American women's classicism during its glory days from the eighteenth through the nineteenth centuries. Overturning the widely held belief that classical learning and political ideals were relevant only to men, she follows the lives of four generations of American women through their diaries, letters, books, needlework, and drawings, demonstrating how classicism was at the center of their experience as mothers, daughters, and wives. Importantly, she pays equal attention to women from the North and from the South, and to the ways that classicism shaped the lives of black women in slavery and freedom.In a strikingly innovative use of both texts and material culture, Winterer exposes the neoclassical world of furnishings, art, and fashion created in part through networks dominated by elite women. Many of these women were at the center of the national experience. Here readers will find Abigail Adams, teaching her children Latin and signing her letters as Portia, the wife of the Roman senator Brutus; the Massachusetts slave Phillis Wheatley, writing poems in imitation of her favorite books, Alexander Pope's Iliad and Odyssey; Dolley Madison, giving advice on Greek taste and style to the U.S. Capitol's architect, Benjamin Latrobe; and the abolitionist and feminist Lydia Maria Child, who showed Americans that modern slavery had its roots in the slave societies of Greece and Rome. Thoroughly embedded in the major ideas and events of the time—the American Revolution, slavery and abolitionism, the rise of a consumer society—this original book is a major contribution to American cultural and intellectual history.
This book investigates the nature of aesthetic experience with the help of ancient material, exploring our responses to both narratives and images.
Ever since the International Monetary Fund’s first bailout of Greece’s sinking economy in 2010, the phrase “Greek debt” has meant one thing to the country’s creditors. But for millions who claim to prize culture over capital, it means something quite different: the symbolic debt that Western civilization owes to Greece for furnishing its principles of democracy, philosophy, mathematics, and fine art. Where did this other idea of Greek debt come from, Johanna Hanink asks, and why does it remain so compelling today? The Classical Debt investigates our abiding desire to view Greece through the lens of the ancient past. Though classical Athens was in reality a slave-owning imperial power, the city-state of Socrates and Pericles is still widely seen as a utopia of wisdom, justice, and beauty—an idealization that the ancient Athenians themselves assiduously cultivated. Greece’s allure as a travel destination dates back centuries, and Hanink examines many historical accounts that express disappointment with a Greek people who fail to live up to modern fantasies of the ancient past. More than any other movement, the spread of European philhellenism in the eighteenth and nineteenth centuries carved idealized conceptions of Greece in marble, reinforcing the Western habit of comparing the Greece that is with the Greece that once was. Today, as the European Union teeters and neighboring nations are convulsed by political unrest and civil war, Greece finds itself burdened by economic hardship and an unprecedented refugee crisis. Our idealized image of ancient Greece dangerously shapes how we view these contemporary European problems.