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The present monograph takes its place in a now well-established tradition of seeing sarcophagi as visual statements of deceased individuals that used allegories to plot lives and personal memories against mythological and other idealised narratives. It focuses on Roman sarcophagi, often referred to as stadtromisch, which reflects the fact that the field has traditionally been dominated by German scholars. The aim of the book is twofold: Firstly, it is an exploration of how to read Roman sarcophagi, which starts from those with portraits, but which can contribute more broadly to the study of sarcophagi in general. Secondly, this book investigates gender values as represented through images and how to locate the individual in standardised iconography.
Discover how the ancient Egyptians controlled their immortal destiny! This book, edited by Foy Scalf, explores what the Book of the Dead was believed to do, how it worked, how it was made, and what happened to it.
The frames of classical art are often seen as marginal to the images that they surround. Traditional art history has tended to view framing devices as supplementary 'ornaments'. Likewise, classical archaeologists have often treated them as tools for taxonomic analysis. This book not only argues for the integral role of framing within Graeco-Roman art, but also explores the relationship between the frames of classical antiquity and those of more modern art and aesthetics. Contributors combine close formal analysis with more theoretical approaches: chapters examine framing devices across multiple media (including vase and fresco painting, relief and free-standing sculpture, mosaics, manuscripts and inscriptions), structuring analysis around the themes of 'framing pictorial space', 'framing bodies', 'framing the sacred' and 'framing texts'. The result is a new cultural history of framing - one that probes the sophisticated and playful ways in which frames could support, delimit, shape and even interrogate the images contained within.
In classical Athens, a funeral speech was delivered for dead combatants almost every year, the most famous being that by Pericles in 430 BC. In 1981, Nicole Loraux transformed our understanding of this genre. Her The Invention of Athens showed how it reminded the Athenians who they were as a people. Loraux demonstrated how each speech helped them to maintain the same self-identity for two centuries. But The Invention of Athens was far from complete. This volume brings together top-ranked experts to finish Loraux's book. It answers the important questions about the numerous surviving funeral speeches that she ignored. It also undertakes a comparison of the funeral oration with other genres that is missing in her famous book. What emerges is a speech that had a much greater political impact than Loraux thought. This volume puts the study of war in Athenian culture on a completely new footing.
This study concentrates on the discourses around animal death in arts and the ways they changed over time. Chapter topics span from religious symbolism to natural history cabinets, from hunting laws to animal rights, from economic history to formalist views on art. In other words, the book asks why artists have represented animal death in visual culture, maintaining that the practice has, through the whole era, been a crucial part of the understanding of our relation to the world and our identity as humans. This is the first truly integrative book-length examination of the depiction of dead animals in Western art. The book will be of interest to scholars working in art history, animal studies, and cultural history.
“An imaginative, dark, and creepy blend of classic fairy tales in a page-turning thriller . . . unpredictable and enjoyable.” —The Quiet Concert One girl is kept in a room where every day the only food she’s given is a poisoned apple. Another is kept in a room covered in needles—and if she pricks her finger, she’ll die. Then there are the brother and sister kept in a cell that keeps getting hotter and hotter . . . A sinister kidnapper is on the loose in Kate’s world. She’s not involved until one day she heads to her grandmother’s house in the woods—and finds her grandmother has also been taken. Already an outcast, Kate can’t get any help from the villagers who hate her. Only Jack, another outsider, will listen to what’s happened. Then a princess is taken, and suddenly the king is paying attention—even though the girl’s stepmother would rather he didn’t. It’s up to Kate and Jack to track down the victims before an ever after arrives that’s far from happy. “Paulson’s world-building is intriguing . . . compulsively readable.” —MuggleNet
This volume sheds new light on the experience of ancient Greek warfare by identifying and examining three fundamental transitions undergone by the classical Athenian hoplite as a result of his military service: his departure to war, his homecoming from war having survived, and his homecoming from war having died. As a conscript, a man regularly called upon by his city-state to serve in the battle lines and perform his citizen duty, the most common military experience of the hoplite was one of transition – he was departing to or returning from war on a regular basis, especially during extended periods of conflict. Scholarship has focused primarily on the experience of the hoplite after his return, with a special emphasis on his susceptibility to Post-Traumatic Stress Disorder (PTSD), but the moments of transition themselves have yet to be explored in detail. Taking each in turn, Owen Rees examines the transitions from two sides: from within the domestic environment as a member of an oikos, and from within the military environment as a member of the army. This analysis presents a new template for each and effectively maps the experience of the hoplite as he moves between his domestic and military duties. This allows us to reconstruct the effects of war more fully and to identify moments with the potential for a traumatic impact on the individual.
In ancient Rome, it was believed some humans were transformed into special, empowered beings after death. These deified dead, known as the manes, watched over and protected their surviving family members, possibly even extending those relatives’ lives. But unlike the Greek hero-cult, the worship of dead emperors, or the Christian saints, the manes were incredibly inclusive—enrolling even those without social clout, such as women and the poor, among Rome's deities. The Roman afterlife promised posthumous power in the world of the living. While the manes have often been glossed over in studies of Roman religion, this book brings their compelling story to the forefront, exploring their myriad forms and how their worship played out in the context of Roman religion’s daily practice. Exploring the place of the manes in Roman society, Charles King delves into Roman beliefs about their powers to sustain life and bring death to individuals or armies, examines the rituals the Romans performed to honor them, and reclaims the vital role the manes played in the ancient Roman afterlife.