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This book explores what visitors saw at the Trojan exhibition and why its contents, including treasure, plain pottery and human remains captured imaginations and divided opinions. When Schliemann's Trojan collection was first exhibited in 1877, no-one had seen anything like it. Schliemann claimed these objects had been owned by participants in the Trojan War and that they were tangible evidence that Homer's epics were true. Yet, these objects did not reflect the heroic past imagined by Victorians, and a fierce controversy broke out about the collection's value and significance. Schliemann invited Londoners to see the very unclassical objects on display as the roots of classical culture. Artists, poets, historians, race theorists, bankers and humourists took up this challenge, but their conclusions were not always to Schliemann's liking. Troy's appeal lay in its materiality: visitors could apply analytical techniques (from aesthetic appreciation to skull-measuring) to the collection and draw their own conclusions. This book argues for a deep examination of museum exhibitions as a constructed spatial experience, which can transform how the past is seen. This new angle on a famous archaeological discovery shows the museum as a site of controversy, where hard evidence and wild imagination came together to form a lasting image of Troy.
This book explores what visitors saw at the Trojan exhibition and why its contents, including treasure, plain pottery and human remains captured imaginations and divided opinions. When Schliemann's Trojan collection was first exhibited in 1877, no-one had seen anything like it. Schliemann claimed these objects had been owned by participants in the Trojan War and that they were tangible evidence that Homer's epics were true. Yet, these objects did not reflect the heroic past imagined by Victorians, and a fierce controversy broke out about the collection's value and significance. Schliemann invited Londoners to see the very unclassical objects on display as the roots of classical culture. Artists, poets, historians, race theorists, bankers and humourists took up this challenge, but their conclusions were not always to Schliemann's liking. Troy's appeal lay in its materiality: visitors could apply analytical techniques (from aesthetic appreciation to skull-measuring) to the collection and draw their own conclusions. This book argues for a deep examination of museum exhibitions as a constructed spatial experience, which can transform how the past is seen. This new angle on a famous archaeological discovery shows the museum as a site of controversy, where hard evidence and wild imagination came together to form a lasting image of Troy.
Troy is familiar to us from the timeless and epic tales of Homer's Iliad and Virgil's Aeneid. These have been retold over the centuries by writers from Chaucer to Shakespeare to Madeline Miller and Rick Riordan, and enacted by stars such as Elizabeth Taylor and Brad Pitt. But how much do we really know about the city of Troy; its storytellers, myth, actual location or legacy? In this richly illustrated book, the story of Troy is told through a new lens. Published to accompany an exhibition at the British Museum, it introduces the storytellers and Classical artists inspired by the myths of Troy, then examines the tales themselves - from the Judgment of Paris to the return of Odysseus - through the Classical objects for which the museum is internationally known. The third section focuses on Heinrich Schliemann's excavations at Hissarlik, introducing the nineteenth-century search for the location of Troy that convinced the world that this city did once exist. Also explored is the possible Bronze Age background for the myth of the Trojan War, the historicity of which remains unresolved today. The final section delves into the legacy of Troy, and the different ways in which its story has been retold, both in literature and art, from Homer to the present day. Focusing on the major characters - Helen of Troy, Achilles and Hector, Aeneas and Odysseus - it illustrates how artists from Cranach and Rubens to Romare Bearden and Cy Twombly have been inspired by this archetypal tale to reflect on contemporary themes of war and heroism, love and beauty.
Return to Troy presents essays by American and European classical scholars on the Director’s Cut of Troy, a Hollywood film inspired by Homer’s Iliad. The book addresses major topics that are important for any twenty-first century representation of ancient Greek myth and literature in the visual media, not only in regard to Troy: the portrayals of gods, heroes, and women; director Wolfgang Petersen’s epic technique; anachronisms and supposed mistakes; the fall of Troy in classical literature and on screen; and the place of the Iliad in modern popular culture. Unique features are an interview with the director, a report on the complex filming process by his personal assistant, and rare photographs taken during the original production of Troy.
As soon as men began to write, they made Helen of Troy their subject; for close on three thousand years she has been both the embodiment of absolute female beauty and a reminder of the terrible power that beauty can wield. Because of her double marriage to the Greek King Menelaus and the Trojan Prince Paris, Helen was held responsible for an enduring enmity between East and West. For millennia she has been viewed as ane xquisite agent of extermination. But who was she?
The story of Helen and the judgement of Paris, of the gathering Heroes and the seige of Troy; of Achilles and his vulnerable heel, reared by the Centaur on wild honey and the marrow of lions; of Odysseus, the last of the Heroes, his plan for the wooden Horse and his many adventures on his long journey home to Greece. Also contains a beautiful introduction by best-selling author Michelle Paver, and additional endmatter including an author profile, who's who, activities, glossary and more.
It was the Age of Heroes Valiant warriors like Hector, Ajax, wily Odysseus, and brave Achilles, their exploits in battle, their secret passions and hidden strengths, their friendships and rivalries -these are what legends are made of. It began with a stolen kiss and the abduction of the beautiful Helen, wife of a king. Diplomacy gave way to insults, and soon it fell to Agamemnon to restore the honor of his brother, Menelaus of Sparta, by leading an army of heroes to the gates of the enemy fortress. Combat raged for nine years, neither side able to dominate the other. Until a brave Spartan dreamed up a desperate and daring gambit that just might turn the tide of battle in Sparta's favor. Intrigue, deception, betrayal, and the love of a woman whose face launched a thousand ships brought two great armies to war. The place was Troy . . . and this is the epic story known as The Iliad. At the Publisher's request, this title is being sold without Digital Rights Management Software (DRM) applied.
Homer's stories of Troy are part of the foundations of Western culture. What's less well known is that they also inspired Ottoman-Turkish cultural traditions. Yet even with all the historical and archaeological research into Homer and Troy, most scholars today rely heavily on Western sources, giving Ottoman work in the field short shrift. This book helps right that balance, exploring Ottoman-Turkish involvement and interest in the subject between 1870, when Heinrich Schliemann began his excavations in search of Troy on Ottoman soil, and the battle of Gallipoli in 1915, which gave the Turks their own version of the heroic epic of Troy.
From his own crucifixion to a colorful tribute to Rosa Parks, the artist known only as Nall has quite a diverse body of work. Nall's art--including large-scale mixed-media collages, etchings, and paintings--encapsulates the human experience, from death and religion to sexuality and gender. Collecting his pieces, some for the very first time in print, Nall at Troy traces the life of this internationally respected artist to his humble hometown of Troy, Alabama, and the university there to which he has made a large permanent bequest of his work. Troy, Alabama, is not the first place that comes to mind as a source of great art. It's probably not even the thousandth place. But it is the birthplace of Fred Nall Hollis, an internationally acclaimed and celebrated artist who works under the moniker Nall. In his large-scale mixed media collages and paintings, often featuring his own print work, Nall tackles the most difficult topics in art: death, religion, politics, sexuality, gender, and more. Truly an artist with a multicultural focus, the subject matter of Nall's work originates in his own story, shared in Nall at Troy. After attending the University of Alabama during the turbulent 1960s, Nall boldly ventured to Europe and developed relationships with some of the West's most influential figures, including Salvador Dali, James Baldwin, Prince Albert of Monaco, and Ringo Starr. His career blossomed in Europe, but Nall began to feel a longing for his hometown of Troy and artists with which he might find a close kinship. Nall at Troy is an exploration of the artist's homecoming, his promotion of Alabama artists, and his establishing of unique relationships with students and faculty at Troy University. Nall's contributions to the town, such as the creation of an international art center and the Nall Museum, have caused the community to have a great affinity for the artist. Nall at Troy is an opportunity for the city of Troy and its excellent university to share one of Alabama's best-kept secrets with the world.