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An examination of how the Roman past was perceived, and used, by Victorian Britain. The authority of classical texts was challenged in the mid-Victorian era through the unearthing of a very different "Rome" in the material remains under British soil. Developments in archaeology created a new picture of Roman Britain as wealthy and civilized - an image which sat more comfortably with the Victorians' own changing view of empire as they themselves became an imperial power. Changing intellectual ideas ensured that the Roman heritage could nolonger be seen solely as the preserve of the classically educated upper class: excavating with a spade allowed a larger audience to participate and own the Roman past. This book explores the whole phenomena, using archaeological activity in four British provincial towns (Caerleon, Cirencester, Colchester and Chester) to offer an explanation of how and why it happened, and providing authoritative and fresh insights into the way in which Victorian archaeology emerged, developed and altered how the modern world understood the ancient. In the process, it brings to the fore the frequently contradictory and confused ideas about Roman Britain in the Victorian imagination. VIRGINIA HOSELITZ gained her PhD at the Department of Classics and Ancient History, University of Bristol.
Published to accompany exhibition of same name held at the Bristol City Museum and Art Gallery, 3/5 - 23/6 1996. This exhibition studied the ways in which 19th century British painters such as Alma-Tadema and Samuel Palmer were inspired by the remains of ancient Rome.
Imagining Emperors in the Later Roman Empire offers new analysis of the textual depictions of a series of emperors in the fourth century within overlapping historical, religious, and literary contexts. Drawing on the recent Representational Turn in the study of imperial power, these essays examine how literary authors working in various genres, both Latin and Greek, and of differing religious affiliations construct and manipulate the depiction of a series of emperors from the late third to the late fourth centuries CE. In a move away from traditional source criticism, this volume opens up new methodological approaches to chart intellectual and literary history during a critical century for the ancient Mediterranean world.
The first monograph on the Vita Humana cycle at Tre Fontane, this book includes an overview of the medieval history of the Roman Cistercian abbey and its architecture, as well as a consideration of the political and cultural standing of the abbey both within Papal Rome and within the Cistercian order. Furthermore, it considers the commission of the fresco cycle, the circumstances of its making, and its position within the art historical context of the Roman Duecento. Examining the unusual blend of images in the Vita Humana cycle, this study offers a more nuanced picture of the iconographic repertoire of medieval art. Since the discovery of the frescoes in the 1960s, the iconographic programme of the cycle has remained mysterious, and an adequate analysis of the Vita Humana cycle as a whole has so far been lacking. Kristin B. Aavitsland covers this gap in the scholarship on Roman art circa 1300, and also presents the first interpretative discussion of the frescoes that is up-to-date with the architectural investigations undertaken in the monastery around 2000. Aavitsland proposes a rationale behind the conception of the fresco cycle, thereby providing a key for understanding its iconography and shedding new light on thirteenth-century Cistercian culture.
How was the Roman emperor viewed by his subjects? How strongly did their perception of his role shape his behaviour? Adopting a fresh approach, Panayiotis Christoforou focuses on the emperor from the perspective of his subjects across the Roman Empire. Stress lies on the imagination: the emperor was who he seemed, or was imagined, to be. Through various vignettes employing a wide range of sources, he analyses the emperor through the concerns and expectations of his subjects, which range from intercessory justice to fears of the monstrosities associated with absolute power. The book posits that mythical and fictional stories about the Roman emperor form the substance of what people thought about him, which underlines their importance for the historical and political discourse that formed around him as a figure. The emperor emerges as an ambiguous figure. Loved and hated, feared and revered, he was an object of contradiction and curiosity.
"Father Lafont challenges the Church to offer a renewed image and to speak credibly, without abandoning any essentials given by God to the Church and without sacrificing the radicalism of the Gospel message."--BOOK JACKET.Title Summary field provided by Blackwell North America, Inc. All Rights Reserved
This book challenges traditional approaches to heritage interpretation and offers an alternative theoretical architecture to the current research and practice. Russell Staiff suggests that the dialogue between visitors and heritage places has been too focused on learning outcomes, and so heritage interpretation has become dominated by psychology and educational theory, and over-reliant on outdated thinking. Using his background as an art historian and experience teaching heritage and tourism courses, Russell Staiff weaves personal observation with theory in an engaging and lively way. He recognizes that the 'digital revolution' has changed forever the way that people interact with their environment and that a new approach is needed.
In film imagery, urban spaces show up not only as spatial settings of a story, but also as projected ideas and forms that aim to recreate and capture the spirit of cultures, societies and epochs. Some cinematic cities have even managed to transcend fiction to become part of modern collective memory. Can we imagine a futuristic city not inspired at least remotely by Fritz Lang’s Metropolis? In the same way, ancient Babylon, Troy and Rome can hardly be shaped in popular imagination without conscious or subconscious references to the striking visions of Griffiths’ Intolerance, Petersen’s Troy and Scott’s Gladiator, to mention only a few influential examples. Imagining Ancient Cities in Film explores for the first time in scholarship film representations of cities of the Ancient World from early cinema to the 21st century. The volume analyzes the different choices made by filmmakers, art designers and screen writers to recreate ancient urban spaces as more or less convincing settings of mythical and historical events. In looking behind and beyond intended archaeological accuracy, symbolic fantasy, primitivism, exoticism and Hollywood-esque monumentality, this volume pays particular attention to the depiction of cities as faces of ancient civilizations, but also as containers of moral ideas and cultural fashions deeply rooted in the contemporary zeitgeist and in continuously revisited traditions.
The first monograph on the Vita Humana cycle at Tre Fontane, this book includes an overview of the medieval history of the Roman Cistercian abbey and its architecture, as well as a consideration of the political and cultural standing of the abbey both within Papal Rome and within the Cistercian order. It considers the commission of the fresco cycle, the circumstances of its making and its position within the art historical context of the Roman Duecento. Examining the unusual blend of images in the Vita Humana cycle, this study offers a more nuanced picture of the iconographic repertoire of medieval art.
Argues that the adaptation of habitus for a universal audience supported the development of a vernacular reading public.