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"This volume presents a series of papers which cover the general theme of the reception of antiquity, a topic which has in recent years become a discipline in itself, or what some might call a 'cross-discipline'. Indeed the Nachleben of the (culture of) classical antiquity, and of antiquity as a whole, manifests in a number of diverse domains, opening up the field of reception studies to scholars from disciplines other than Classics. This collection of papers illustrates this diversity, uniting as it does original research by scholars from a variety of disciplines: classicists, historians, theatre historians, architectural historians, psychologists, archaeologists, artists, and more, all of whom have treated some aspect of the so-called 'classical tradition' by means of their own individual approaches, leading to a volume rich and dense in themes and methodologies. 'Receptions of antiquity' has been written by friends of Freddy Decreus, in honour of his career, and in celebration of his thought."--
Receptions of Greek and Roman Antiquity in East Asia broadens the scope of the Western Classical tradition by offering pioneering insights (of leading scholars from Europe, East Asia, and North America) into East Asian receptions of Greco-Roman Antiquity.
Receptions of Antiquity, Constructions of Gender in European Art, 1300-1600 presents scholarship in classical reception at its nexus with art history and gender studies. It considers the ways that artists, patrons, collectors, and viewers in late medieval and early modern Europe used ancient Greek and Roman art, texts, myths, and history to interact with and shape notions of gender. The essays examine Giotto's Arena Chapel frescoes, Michelangelo's Medici Chapel personifications, Giulio Romano's decoration of the Palazzo del Te, and other famous and lesser-known sculptures, paintings, engravings, book illustrations, and domestic objects as well as displays of ancient art. Visual responses to antiquity in this era, the volume demonstrates, bore a complex and significant relationship to the construction of, and challenges to, contemporary gender norms.
This volume presents the historical development and important personalities of the time of transition from manuscript book culture to book printing in the years 1450-1550. The first part of the volume contains a thorough description of historical, social and technical background influencing the development of book printing in Bohemia and Moravia and the impact of book printing production on the contemporary Czech society. The authors described the specific historical conditions in the Kingdom of Bohemia after the pre-reformation Hussite movement. The newly emerged Utraquist confession spread in important parts of Bohemia which led to decrease of social and economic contacts between the Kingdom of Bohemia and Catholic states in Europe. Apart from that the decreased activity of Prague University had negative impact on literacy in Bohemia. These two main reasons were detrimental to the development of book printing in Bohemia. The low quality of first prints was not attractive for educated readers who rather chose better equipped foreign books, mainly in Latin. Book printing in Bohemia soon became a matter of closed Czech speaking public. One of the important consequences of this process was weak reception of humanism and classical antiquity in Czech culture, although the former was partly embraced in Bohemia in previous centuries anyway. The second part of the book presents the first printers and editors of printed books before 1550 with a summary of their publishing activities.
Musical Receptions of Greek Antiquity: From the Romantic Era to Modernism is a rich contribution to a topic of increasing scholarly interest, namely, the impact of Greek antiquity on modern culture, with a particular focus on music of the nineteenth and twentieth centuries. This collection of essays offers a more comprehensive interdisciplinary examination of music’s interaction with Greek antiquity since the nineteenth century than has been attempted so far, analysing its connotations and repercussions. The volume sheds light on a number of hitherto underexplored case studies, and revisits and reassesses some well-known instances. Through scrutiny of a wide range of cases that extend from the Romantic era to experimentations of the second half of the twentieth century, the collection illuminates how the engagement with and interpretation of elements of ancient Greek culture in and through music reflect the specific historical, cultural and social contexts in which they took place. In analysing the multiple ways in which Greek antiquity inspired Western art music since the nineteenth century, the volume takes advantage of current interdisciplinary developments in musicology, as well as research on reception across various fields, including musicology, Slavic studies, modern Greek studies, Classics, and film studies. By encompassing a wide variety of case studies on repertories at the margins of the Western European art music tradition, while not excluding some central European ones, this volume broadens the focus of an increasingly rich field of research in significant ways.
What do we talk about when we talk about antiquity? For the majority of the population, the term immediately transports us to the notion of an ancient age or ancient world (the Parthenon, Athens, and the Coliseum of Rome), which condenses in itself the Greco-Roman world. This reduces antiquity to antiquity that was structurally essential for the construction and emergence of the civilization called occidental.For others, because of their religious backgrounds, antiquity goes back in time and enlarges, in part, its space of action, allowing the emergence of Palestine as a primordial territory.But these two visions (old and supported by a scientific ignorance of the ancient geographies and chronologies) enclose the history in a limited time and space. As if there would never have been a world before that time. As if the civilization that we comfortably call ourselves as inheritors, the so-called "Occidental Civilization" was the first step in the history of man on earth.
The comic playwright Menander was one of the most popular writers throughout antiquity. This book reconstructs his life and the legacy of his work until the end of antiquity employing a broad range of sources such as portraits, illustrations of his plays, papyri preserving their texts and inscriptions recording their public performances. These are placed within the context of the three social and cultural institutions which appropriated his comedy, thereby ensuring its survival: public theatres, dinner parties and schools. Dr Nervegna carefully reconstructs how each context approached Menander's drama and how it contributed to its popularity over the centuries. The resultant, highly illustrated, book will be essential for all scholars and students not just of Menander's comedy but, more broadly, of the history and iconography of the ancient theatre, ancient social history and reception studies.
The texts, images and events of the ancient world have been used both as sources of authority and exploitation in politics, culture and society and as icons of resistance and contest. How classical culture is transplanted into new contexts, how texts are translated and performed and how Greek and Roman values are perceived and used continues to be a force in current debates. The main concepts and explanatory frameworks used in the field are introduced through chapters on reception within antiquity and case studies of more recent receptions from Africa, the Caribbean, Europe and the USA. The book will be of use to all those interested in the relationship between the arts, culture and society as well as to students and teachers of classical subjects and of literature, drama, film and comparative cultural studies.
This book is an enthusiastic celebration of the ways in which popular culture has consumed aspects of the ancient Near East to construct new realities. The editors have brought together an impressive line-up of scholars-archaeologists, philologists, historians, and art historians-to reflect on how objects, ideas, and interpretations of the ancient Near East have been remembered, constructed, reimagined, mythologized, or indeed forgotten within our shared cultural memories. The exploration of cultural memories has revealed how they inform the values, structures, and daily life of societies over time. This is therefore not a collection of essays about the deep past but rather about the stories we tell ourselves about ourselves.
Brill’s Companion to the Reception of Plato in Antiquity offers a comprehensive account of the ways in which ancient readers responded to Plato, as philosopher, as author, and more generally as a central figure in the intellectual heritage of Classical Greece, from his death in the fourth century BCE until the Platonist and Aristotelian commentators in the sixth century CE. The volume is divided into three sections: ‘Early Developments in Reception’ (four chapters); ‘Early Imperial Reception’ (nine chapters); and ‘Early Christianity and Late Antique Platonism’ (eighteen chapters). Sectional introductions cover matters of importance that could not easily be covered in dedicated chapters. The book demonstrates the great variety of approaches to and interpretations of Plato among even his most dedicated ancient readers, offering some salutary lessons for his modern readers too.