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An illumination of memory-the defining aspect of Roman civilization
In Unwritten Rome, a new book by the author of Myths of Rome, T.P. Wiseman presents us with an imaginative and appealing picture of the early society of pre-literary Rome—as a free and uninhibited world in which the arts and popular entertainments flourished. This original angle allows the voice of the Roman people to be retrieved empathetically from contemporary artefacts and figured monuments, and from selected passages of later literature.How do you understand a society that didn’t write down its own history? That is the problem with early Rome, from the Bronze Age down to the conquest of Italy around 300 BC. The texts we have to use were all written centuries later, and their view of early Rome is impossibly anachronistic. But some possibly authentic evidence may survive, if we can only tease it out – like the old story of a Roman king acting as a magician, or the traditional custom that may originate in the practice of ritual prostitution. This book consists of eighteen attempts to find such material and make sense of it.
The twelfth-century French poet Chrétien de Troyes is a major figure in European literature. His courtly romances fathered the Arthurian tradition and influenced countless other poets in England as well as on the continent. Yet because of the difficulty of capturing his swift-moving style in translation, English-speaking audiences are largely unfamiliar with the pleasures of reading his poems. Now, for the first time, an experienced translator of medieval verse who is himself a poet provides a translation of Chrétien’s major poem, Yvain, in verse that fully and satisfyingly captures the movement, the sense, and the spirit of the Old French original. Yvain is a courtly romance with a moral tenor; it is ironic and sometimes bawdy; the poetry is crisp and vivid. In addition, the psychological and the socio-historical perceptions of the poem are of profound literary and historical importance, for it evokes the emotions and the values of a flourishing, vibrant medieval past.
In recent decades, scholars have argued that the Roman Republic's political culture was essentially democratic in nature, stressing the central role of the 'sovereign' people and their assemblies. Karl-J. Hölkeskamp challenges this view in Reconstructing the Roman Republic, warning that this scholarly trend threatens to become the new orthodoxy, and defending the position that the republic was in fact a uniquely Roman, dominantly oligarchic and aristocratic political form. Hölkeskamp offers a comprehensive, in-depth survey of the modern debate surrounding the Roman Republic. He looks at the ongoing controversy first triggered in the 1980s when the 'oligarchic orthodoxy' was called into question by the idea that the republic's political culture was a form of Greek-style democracy, and he considers the important theoretical and methodological advances of the 1960s and 1970s that prepared the ground for this debate. Hölkeskamp renews and refines the 'elitist' view, showing how the republic was a unique kind of premodern city-state political culture shaped by a specific variant of a political class. He covers a host of fascinating topics, including the Roman value system; the senatorial aristocracy; competition in war and politics within this aristocracy; and the symbolic language of public rituals and ceremonies, monuments, architecture, and urban topography. Certain to inspire continued debate, Reconstructing the Roman Republic offers fresh approaches to the study of the republic while attesting to the field's enduring vitality.
In the first comprehensive study of Roman ancestor masks in English, Harriet Flower explains the reasons behind the use of wax masks in the commemoration of politically prominent family members by the elite society of Rome. Flower traces the functional evolution of ancestor masks, from theirfirst attested appearance in the third century BC to their last mention in the sixth century AD, through the examination of literary sources in both prose and verse, legal texts, epigraphy, archaeology, numismatics, and art. It is by putting these masks, which were worn by actors at the funerals ofthe deceased, into their legal, social, and political context that Flower is able to elucidate their central position in the media of the time and their special meaning as symbols of power and prestige.