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The institutionalization of History and Philosophy of Science as a distinct field of scholarly endeavour began comparatively earl- though not always under that name - in the Australasian region. An initial lecturing appointment was made at the University of Melbourne immediately after the Second World War, in 1946, and other appoint ments followed as the subject underwent an expansion during the 1950s and 1960s similar to that which took place in other parts of the world. Today there are major Departments at the University of Melbourne, the University of New South Wales and the University of W ollongong, and smaller groups active in many other parts of Australia and in New Zealand. 'Australasian Studies in History and Philosophy of Science' aims to provide a distinctive pUblication outlet for Australian and New Zealand scholars working in the general area of history, philosophy and social studies of science. Each volume comprises a group of essays on a connected theme, edited by an Australian or a New Zealander with special expertise in that particular area. Papers address general issues, however, rather than local ones; parochial topics are avoided. Further more, though in each volume a majority of the contributors is from Australia or New Zealand, contributions from elsewhere are by no means ruled out. Quite the reverse, in fact - they are actively encouraged wherever appropriate to the balance of the volume in question.
Although a third of his plays are set in the ancient world and he constantly used classical mythology, history, and ideas, Shakespeare received a simple grammar school education and did not have a scholar's knowledge of the classics. The critical implications of this are the subject of Shakespeare and the Uses of Antiquity. Against a recent academic tendency to exaggerate Shakespeare's learning, the authors investigate how he used his comparatively restricted knowledge to create, for example, an unusually convincing picture of Rome, and analyse, by presenting us with careful readings of specific passages, the styles Shakespeare employed under the influence of classical writers, especially Ovid, Seneca, and (in translation) Homer and Plutarch.
Because pyrotechnology was considered a demeaning craft, there is very little about its practice in ancient texts; our knowledge of early developments is based almost entirely on interpretation of artifacts recovered by archaeology during the past century and a half. Literature in archaeology and anthropology, however, tends to concentrate on the artifact found rather than on how it was produced - on the pot or spearhead rather than the kiln or furnace. There is thus surprisingly little information on the practice and importance of pyrotechnology. The Mastery and Uses of Fire in Antiquity, written by an engineer with fifty years of experience in industrial research and pyrotechnology, rectifies this lack. J.E. Rehder covers the kinds of furnaces, the nature of the fuel used, and the productions created - fired clay, lime from limestone, metals from the reduction of ores, and glass from sand. He also shows convincingly that previous arguments that early deforestation resulted from furnace use cannot be supported. The Mastery and Uses of Fire in Antiquity provides much-needed information for anyone interested in archaeology, anthropology, and pyrotechnology.
Classical Archaeologists, art historians and artists consider the Role of the Artist' in the rediscovery of the past.
The art of the human body is arguably the most important and wide-ranging legacy bequeathed to us by Classical antiquity. Not only has it directed the course of western image-making, it has shaped our collective cultural imaginary - as ideal, antitype, and point of departure. This book is the first concerted attempt to grapple with that legacy: it explores the complex relationship between Graeco-Roman images of the body and subsequent western engagements with them, from the Byzantine icon to Venice Beach (and back again). Instead of approaching his material chronologically, Michael Squire faces up to its inherent modernity. Writing in a lively and accessible style, and supplementing his text with a rich array of pictures, he shows how Graeco-Roman images inhabit our world as if they were our own. The Art of the Body offers a series of comparative and thematic accounts, demonstrating the range of cultural ideas and anxieties that were explored through the figure of the body both in antiquity and in the various cultural landscapes that came afterwards. If we only strip down our aesthetic investment in the corpus of Graeco-Roman imagery, Squire argues, this material can shed light on both ancient and modern thinking. The result is a stimulating process of mutual illumination - and an exhilarating new approach to Classical art history.
Ancient and Modern Democracy is a comprehensive account of Athenian democracy as a subject of criticism, admiration and scholarly debate for 2,500 years, covering the features of Athenian democracy, its importance for the English, American and French revolutions and for the debates on democracy and political liberty from the nineteenth century to the present. Discussions were always in the context of contemporary constitutional problems. Time and again they made a connection with a long-established tradition, involving both dialogue with ancient sources and with earlier phases of the reception of Antiquity. They refer either to a common cultural legacy or to specific national traditions; they often involve a mixture of political and scholarly arguments. This book elucidates the complexity of considering and constructing systems of popular self-rule.
This landmark collection presents a wide variety of viewpoints on the value and role of reception theory within the modern discipline of classics. A pioneering collection, looking at the role reception theory plays, or could play, within the modern discipline of classics. Emphasizes theoretical aspects of reception. Written by a wide range of contributors from young scholars to established figures, from Europe, the UK and the USA. Draws on material from many different fields, from translation studies to the visual arts, and from politics to performance. Sets the agenda for classics in the future.
Originally published in 1967. Ludwig Edelstein characterizes the idea of "progress" in Greek and Roman times. He analyzes the ancients' belief in "a tendency inherent in nature or in man to pass through a regular sequence of stages of development in past, present, and future, the latter stages being—with perhaps occasional retardations or minor regressions—superior to the earlier." Edelstein's contemporaries asserted that the Greeks and Romans were entirely ignorant of a belief in progress in this sense of the term. In arguing against this dominant thesis, Edelstein draws from the conclusions of scholars of the nineteenth and early twentieth centuries and discusses ideas of Auguste Comte and Wilhelm Dilthey.
A comprehensive analysis of the impact of money on the economy, society and culture of the Greek and Roman worlds.
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.