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A vision of reality in which a pre-eminent human type was defined in opposition to non-ideal 'Others' characterized ancient Greece. In democratic Athens the social structure privileged male citizens, and women, resident aliens, and slaves were marginalized. The Persian Wars polarized the opposition of Greeks and Barbarians. This anthology provides the first investigation of the delineation of otherness across a broad spectrum of the imagery of Greek art. An international cast of authors, with methodologies ranging from traditional to avant-garde, examines manifestations of the Other in Late Archaic and Classical Greek representations that particularly interest them. The 17 chapters develop a nuanced picture of the visual criteria that denoted otherness in regard to gender, class, and ethnicity and also reveal the social and political functions of this remarkable Greek imagery. Also available in paperback (ISBN 9789004117129)
Ancient Greece is characterized by a vision of reality in which a pre-eminent human type is defined in opposition to non-ideal 'others'. The social structure of democratic Athens privileged male citizens, while marginalizing women, resident aliens, and slaves. Across a broad spectrum of classical Greek imagery, this anthology provides an investigation of this 'otherness'. Their methodologies ranging from traditional to avant-garde, an international cast of authors develops a nuanced picture of 'otherness', the visual criteria that denote it, and its social and political functions in regard to gender, class, and ethnicity.
Female Characters play various roles in the Odyssey: patron goddess (Athena), seductress (Kirke, the Sirens, Nausikaa), carnivorous monster (Skylla), maid servant (Eurykleia), and faithful wife (Penelope). Adopting an interdisciplinary approach, this study examines these different female representations and their significance within the context of the poem and Greek culture. A central theme of the book is the visualization of the Odyssey's female characters by ancient artists, and several essays discuss the visual and iconographic implications of Odysseus' female encounters as depicted in Greek, Etruscan, and Roman art. The distinguished contributors--from the fields of classical studies, comparative literature, art history, and archaeology--are A.J. Graham, Seth L. Schein, Diana Buitron-Oliver, Beth Cohen, Sheila Murnaghan, Lillian Eileen Doherty, Helene P. Foley, Froma I. Zeitlin, H.A. Shapiro, Richard Brilliant, Jenifer Neils, and Christine Mitchell Havelock. Feminine in orientation, but not narrowly feminist in approach, this first interdisciplinary work on the Odyssey's female characters will have a broad audience amongst scholars and students working in classical studies, iconography and art history, women's studies, mythology, and ancient history.
This study traces an important but largely overlooked conception of abstraction in art from its roots in eighteenth-century empirical epistemology to its application in the pursuit of ideal form from Joshua Reynolds to Piet Mondrian. Theorized by Enlightenment philosophy as a means of discovering ideal essence by purging natural form of its accidental and contingent qualities abstraction was a major focus of philosophical, scientific, and aesthetic discourse for more than one hundred fifty years, serving as the nucleus of fundamental debates about the philosophy of mind, the relationship between the Ancients and the Moderns, the nature of human racial and functional variety, the nature of God's creative ideas, the use of brushwork in painting, the validity of abstraction in art, and the visual appearance of ideal truth and beauty.
German Classicism is a powerful architectural force that is only now being fully studied. As this extensively illustrated book shows, palaces, private houses, public buildings, and urban planning all received patronage on a scale that could not be paralleled in other countries. Of the host of architects whose genius was given such superb opportunities in the years 1740 to 1840, only Karl Freidrich Schinkel's name has become widely known; yet this book points out, all over Germany rulers were dramatically transforming their capitals, and the achievements of Weinbrenner at Karlsruhe, Moller at Darmstadt, or Klenze at Munich are by any standards astonishing. The first part of the book is by David Watkin, a leading British authority on the Classical Revival. He provides a historical account that sets German Neoclassicism in its regional and political context, and notes the impact of France and England and the Franco-Prussian style before Schinkel. He discusses Schinkel's own work, that of Leo von Klenze, and Neoclassicism in North and South Germany. The book's second part consists of an index of buildings prepared by Tilman Mellinghoff. Here every important Neoclassical building (both existing and destroyed) is listed and described under its location. The index is an invaluable source of information available nowhere else in English. David Watkin is a Fellow of Peterhouse and a University Lecturer in History of Art at Cambridge University. Tilman Mellinghoff is an Assistant Lecturer at the Universities of Cologne and Bonn.
Ever since the International Monetary Fund’s first bailout of Greece’s sinking economy in 2010, the phrase “Greek debt” has meant one thing to the country’s creditors. But for millions who claim to prize culture over capital, it means something quite different: the symbolic debt that Western civilization owes to Greece for furnishing its principles of democracy, philosophy, mathematics, and fine art. Where did this other idea of Greek debt come from, Johanna Hanink asks, and why does it remain so compelling today? The Classical Debt investigates our abiding desire to view Greece through the lens of the ancient past. Though classical Athens was in reality a slave-owning imperial power, the city-state of Socrates and Pericles is still widely seen as a utopia of wisdom, justice, and beauty—an idealization that the ancient Athenians themselves assiduously cultivated. Greece’s allure as a travel destination dates back centuries, and Hanink examines many historical accounts that express disappointment with a Greek people who fail to live up to modern fantasies of the ancient past. More than any other movement, the spread of European philhellenism in the eighteenth and nineteenth centuries carved idealized conceptions of Greece in marble, reinforcing the Western habit of comparing the Greece that is with the Greece that once was. Today, as the European Union teeters and neighboring nations are convulsed by political unrest and civil war, Greece finds itself burdened by economic hardship and an unprecedented refugee crisis. Our idealized image of ancient Greece dangerously shapes how we view these contemporary European problems.
In this work, Alexander Rosenthal Pubul presents a broad examination of the ancient philosophical question: “What is the good life?”, while addressing how the liberal arts can help us to answer this question. Greek philosophy distinguished between the “noble” (what is good in itself), from the merely “useful” (good for something else). From thence follows the distinction between the liberal arts which pursue such noble goods and the mechanical arts which are only instrumental. For Aristotle, the most noble and excellent good is wisdom itself. Hence the theoretic life devoted to the love of wisdom for its own sake –philosophy - is the highest and the most excellent. This work theorizes the origins of modernity in a rebellion against this Greek conception resulting in a complete inversion of the classical hierarchy. Sir. Francis Bacon reconceiving the purpose of knowledge as power, enthroned technology over philosophy and the liberal arts. The unfolding of the modern Baconian revolution progressively sidelines the liberal arts, as practical economic and technical utility become the standard of value. In assessing this problem, the book engages in a capacious journey across disciplines like philosophy, history, art, politics, and science. It is also a veritable tour across the Western intellectual tradition including Socrates, Plato, Aristotle, Cicero, Seneca, Thomas Aquinas, Bacon, Descartes, Hume, Kant, Nietzsche, Dewey, Berdyaev, Einstein, and Heidegger. It pleads the urgent need to preserve the humanizing cultural ideals of the ancient classics against the modern tyranny of utility and the dangers of a new barbarism.
An up-to-date accessible history of the phenomenal rise and fall of the greatest city of antiquity, describing its rise to pre-eminence and rapid demise as the greatest of all Greek tragedies. The first history of the city to continue the story through 1500 years of obscurity to its romantic revival under Byron's influence and up to the present day, is eminently qualified to write this book. A classicist by training, he has translated many of the key texts for Penguin Classics and OUP, is intimate with the latest scholarship and travels to Greece every year.
Among ancient writers Aristotle offers the most profound analysis of the ancient Greek household and its relationship to the state. The household was not the family in the modern sense of the term, but a much more powerful entity with significant economic, political, social, and educational resources. The success of the polis in all its forms lay in the reliability of households to provide it with the kinds of citizens it needed to ensure its functioning. In turn, the state offered the members of its households a unique opportunity for humans to flourish. This 2006 book explains how Aristotle thought household and state interacted within the polis.
IN THE FOLLOW-UP to the critically acclaimed The Art of Classical Details, Phillip James Dodd continues his look at some of the finest examples of contemporary classical architecture in Great Britain and the United States, while also examining how collaboration is the key to their successful design. In reality collaborative relationships are rare, especially among designers, where each is often focused on their own individual objectives and unable to transcend their own egos. Often used as a catch-phrase, but not often realized, true collaboration requires an understanding—and an appreciation—of the role that all parties play in the design and construction of a home. An Ideal Collaboration includes the work of some of the most notable names in contemporary residential design. Architects, decorators, landscape designers, consultants, builders, craftsmen, artists and vendors, all address the design process and the pivotal role that collaboration plays in creating cohesive timeless designs.