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Theorising Rome asks the questions: what did ‘Rome’—the physical location, the political entity, the literary construct—mean in antiquity? Equally, what has it meant in subsequent centuries? This volume addresses these broad questions in a number of complementary ways, and each chapter shows that ancient Rome has been recontextualised and remade—and, in fact, re-theorised—by successive historical periods and literary genres to perform their cultural labour. The contributions here approach this question through the lens of Roman literary, historical and philosophical texts, as well as reception texts which create a new vision of Rome through adaptation, allusion and critique. Whether ancient or modern, these studies show how Rome and Roman texts are recast for each new audience.
This book sets out a theoretical framework for thinking about equality as a cultural artefact and process, drawing on work from the GRACE (Gender and Cultures of Equality in Europe) project. In revisiting and reframing conventional questions about in/equality it considers the processes through which in/equalities have come to be regarded as issues of public concern, the various ways that equalities have been historically defined, and how those ideas and imaginings of equalities are produced, embodied, objectified, recognized and contested in and through a variety of cultural practices and sites. Bringing together an international and interdisciplinary group of contributors, the book will be of interest to scholars from across the humanities and social sciences, including anthropology, sociology, and women’s and gender studies.
Constitutes the first analysis of the modern performance of ancient Greek drama from a theoretical perspective.
This exciting collection constitutes the first analysis of the modern performance of ancient Greek drama from a theoretical perspective. The last three decades have seen a remarkable revival of the performance of ancient Greek drama; some ancient plays - "Sophocles", "Oedipus", "Euripides", and "Medea" - have established a distinguished place in the international performance repertoire, and attracted eminent directors including Peter Stein, Ariane Mnouchkine, Peter Sellars, and Katie Mitchell. Staging texts first written two and a half thousand years ago, for all-male, ritualised, outdoor performance in masks in front of a pagan audience, raises quite different intellectual questions from staging any other canonical drama, including Shakespeare. But the discussion of this development in modern performance has until now received scant theoretical analysis. This book provides the solution in the form of a lively interdisciplinary dialogue, inspired by a conference held at the Archive of Performances of Greek & Roman Drama (APGRD) in Oxford, between sixteen experts in Classics, Drama, Music, Cultural History and the world of professional theatre.The book will be of great interest to scholars and students of Classics and Drama alike.
Why do we think of clusters of films as 'national cinema'? Why has the relationship between the nation and film become so widely and uncritically accepted? 'Theorising National Cinema' is a major contribution to work on national cinema, by many of the leading scholars in the field. It addresses the knotty and complex relationship between cinema and national identity, showing that the nationality of a cinema production company, and the films that its made, have not always been seen as pertinent. The volume begins by reviewing and rethinking the concept of national cinema in an age of globalisation, and it goes on to chart the parallel developments of national film industries and the idea of a nation state in countries as diverse as Japan, South Korea, Russia, France and Italy. The issues of a 'national cinema' for nation states of contested status, with disputed borders or displaced peoples, is discussed in relation to film-making in Taiwan, Ireland and Palestine. The contributors also consider the future of national cinema in an age of trans-national cultural flows, exploring issues of national identity and cinema in Latin America, Asia, the Middle-East, India, Africa and Europe. 'Theorising National Cinema' also includes a valuable bibliography of works on national cinema.
Scholarship on NATO is often preoccupied with key episodes in the development of the organisation and so, for the most part, has remained inattentive to theory. This book addresses that gap in the literature. It provides a comprehensive analysis of NATO through a range of theoretical perspectives that includes realism, liberalism and constructivism, and lesser-known approaches centred on learning, public goods, securitisation and risk. Focusing on NATO’s post-Cold War development, it considers the conceptualisation, purpose and future of the Alliance. This book will be of interest to students and scholars of international organisation, international relations, security and European Politics.
This volume contains nineteen of the more important of Frank Walbank's essays on Polybius and is prefaced by a critical discussion of the main aspects of work done on that author. Several of these essays deal with specific historical problems for which Polybius is a major source. Five deal with Polybius as an historian and three with his attitude towards Rome; one of these raises the question of 'treason' in relation to Polybius and Josephus. Finally, two papers discuss Polybius' later fortunes - in England up to the time of John Dryden and in twentieth-century Italy in the work of Gaetano de Sanctis. Several of these essays originally appeared in journals and collections not always easily accessible, and all students of the ancient Mediterranean world will welcome their assembly within a single volume.
This is a comprehensive, critical review of social theory that places leading contributions in their larger context. Written predominantly for students, the scope and range of the subjects and authors dealt with results in one of the most comprehensive introductions to social theory published to date. Ranging from the philosophical foundations of sociology and the discovery of `the social' to distinctive sociological approaches, to the significance of issues pertaining to gender and patriarchy, to questions of modernity and post-modernity, the book is comprehensive in subject matter.
Reflecting on the relationship between artists and their audiences, this book examines how artists have presented themselves publicly through interviews and sought to establish a critical voice for themselves. Considering the interview as a form of cultural production, contributors explore the criteria for determining the artist interview as a distinct field of research in relation to other cultural fields. Structured in four parts, ‘History and Historiography’, ‘Subverting the Biographical Model’, ‘Interviews as Practice’ and ‘Materiality and Technology’, the book takes an interdisciplinary approach that encompasses the fields of art history, fine art, oral history, curating, media studies and museum conservation. By theorising the artist interview as a form of cultural production and embracing it as a co-constructed critical practice, this volume aims to show and encourage an approach to art history which dismantles old hierarchies in favour of valuing dialogue and collaboration. The book will be of interest to scholars working in art history, museum studies, oral history and historiography.
The increasing transnationalisation of regulation – and social life more generally – challenges the basic concepts of legal and political theory today. One of the key concepts being so challenged is authority. This discerning book offers a plenitude of resources and suggestions for meeting that challenge.