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Perhaps because of the fact that modern Greece is, through the Orthodox Church, inextricably linked with the Byzantine heritage, the precise meaning of this heritage, in its various aspects, has hitherto been surprisingly little discussed by scholars. This collection of specially commissioned essays aims to present an overview of some of the different, and often conflicting, tendencies manifested by modern Greek attitudes to Byzantium since the late eighteenth-century Enlightenment. The aim is to show just how formative views of Byzantium have been for modern Greek life and letters: for historiography and imaginative literature, on the one hand, and on the other, for language, law, and the definition of a culture. All Greek has been translated, and the volume is aimed at Byzantinists and Neohellenists alike.
Byzantium was a very influential part of the development of the Arts and Crafts Movement (1880–1910) in Britain, and although the influence of the Gothic Revival (1830–80) is well known, that of the Byzantine Revival (1840–1910) is not. This volume is about the people and the movements that created the Byzantine Revival and shows how they influenced British heritage from architecture to the decorative arts during the late nineteenth and early twentieth centuries. The central pillars of the volume are the architects and scholars who created the Byzantine Research Fund (BRF) Archive, a unique collection of architectural drawings and photographs of numerous monuments across the Byzantine world, and the social and professional networks in which they circulated. The BRF members, an eclectic and little-known group, who based themselves at the newly founded British School at Athens, established the research of Byzantium in Britain and Greece. They were trained in the traditions of the Arts and Crafts Movement, which sought authenticity in design and decoration in reaction to the styles that had developed through industrialisation. Their work, uniting a distinctively British design tradition with Byzantine arts and crafts, represents a highly significant and under-researched link between Britain and the Hellenic world. This volume is the first contribution to try to fill this knowledge gap. Byzantium and British Heritage will appeal to all those interested in the relation between Byzantine and British culture and Byzantine art.
In 1854, John Henry Newman, one of the foremost intellectual figures of the nineteenth century, was officially installed as the rector of the first Catholic university in Ireland. University Church (constructed in 1855–6) was Newman’s first objective when he agreed to the rectorship and it can be considered as a tangible manifestation of the idea behind the unprecedented Catholic university in Dublin – the posing of an erudite Catholic alternative to post-Enlightenment secularism and Protestant hegemony through a style-based analogy to the early Church. Despite physically embodying what Newman wished to achieve in and through his new university, this ‘early Christian' style church, which drew upon Roman and Byzantine basilicas, has received little attention. This book charts for the first time the significant place that the building occupies within the history of Victorian revivalist architecture. Niamh Bhalla explores the meaningful connection between the church’s context and the ambiguity of its ‘early Christian’ style. In the intersection of these two things, a significant monument was created. The study of University Church therefore provides an effective lens to understand more comprehensively the architectural revivalism that dominated the nineteenth century, particularly the first stirrings of basilican and Byzantine revivalist architectures in the British Isles. Praise for Newman University Church, Dublin 'Newman University Church, Dublin is an important contribution to the burgeoning study of historistic architecture of the nineteenth century. In studying the larger contexts of the church, Niamh Bhalla illumines the aspirations of Cardinal Newman for the university that he directed and Catholicism in Ireland and the United Kingdom.' Robert S. Nelson, Yale University 'A riveting analysis of the University Church and its intellectual background. Niamh Bhalla steers us effortlessly through the many strands of architectural and religious thought that lie behind Newman’s church, while revealing its seminal place in the history of the Byzantine revival.' Roger Stalley, Trinity College Dublin
The papers in this volume derive from the 29th Spring Symposium of Byzantine Studies. This was held for the Society for the Promotion of Byzantine Studies in the University of London in March 1995, in order to complement the British Museum exhibition 'Byzantium. Treasures of Byzantine Art and Culture'. The objective of the symposium was to explore the ways in which British scholars, travellers, novelists, architects, churchmen and critics came into contact with Byzantium, and how they perceived what they saw. The present volume sets out some of the results of this enquiry. Byzantium is treated both as a source of influence on British culture as well as an 'idea' which British culture constructed in different ways in different periods of history. To give some comparative context, attention is also paid to attitudes towards Byzantium in continental Europe. Papers deal, amongst other topics, with the collecting of objects representative of Byzantine culture and with the changing appreciation of Byzantine manuscripts. They also include a series of case studies of individual historians and Byzantinists, and two deal in particular with Ruskin, who emerges as a perceptive 19th-century critic of Byzantine culture. Through the Looking Glass is volume 7 in the series published by Ashgate/Variorum on behalf of the Society for the Promotion of Byzantine Studies.
These essays focus primarily on British travel writers from the 18th and 19th century and explore the tensions between imaginary and real geographical difference.
Byzantium/Modernism features contributions by fourteen international scholars and brings together a diverse range of interdisciplinary essays on art, architecture, theatre, film, literature, and philosophy, which examine how and why Byzantine art and image theory can contribute to our understanding of modern and contemporary visual culture. Particular attention is given to intercultural dialogues between the former dominions of the Byzantine Empire, with a special focus on Greece, Turkey, and Russia, and the artistic production of Western Europe and America. Together, these essays invite the reader to think critically and theoretically about the dialogic interchange between Byzantium and modernism and to consider this cross-temporal encounter as an ongoing and historically deep narrative, rather than an ephemeral or localized trend. Contributors are Tulay Atak, Charles Barber, Elena Boeck, Anthony Cutler, Rico Franses, Dimitra Kotoula, Marie-José Mondzain, Myroslava M. Mudrak, Robert S. Nelson, Robert Ousterhout, Stratis Papaioannou, Glenn Peers, Jane A. Sharp and Devin Singh.
When in 1821, the Greeks rose in violent revolution against the rule of the Ottoman Turks, waves of sympathy spread across Western Europe and the United States. More than a thousand volunteers set out to fight for the cause. The Philhellenes, whether they set out to recreate the Athens of Pericles, start a new crusade, or make money out of a war, all felt that Greece had unique claim on the sympathy of the world. As Byron wrote, 'I dreamed that Greece might Still be Free'; and he died at Missolonghi trying to translate that dream into reality. William St Clair's meticulously researched and highly readable account of their aspirations and experiences was hailed as definitive when it was first published. Long out of print, it remains the standard account of the Philhellenic movement and essential reading for any students of the Greek War of Independence, Byron, and European Romanticism. Its relevance to more modern ethnic and religious conflicts is becoming increasingly appreciated by scholars worldwide. This new and revised edition includes a new Introduction by Roderick Beaton, an updated Bibliography and many new illustrations.
Hagia Sophia, the Church of Holy Wisdom, sits majestically atop the plateau that commands the straits separating Europe and Asia. Located near the acropolis of the ancient city of Byzantium, this unparalleled structure has enjoyed an extensive and colorful history, as it has successively been transformed into a cathedral, mosque, monument, and museum. In Hagia Sophia, 1850-1950, Robert S. Nelson explores its many lives. Built from 532 to 537 as the Cathedral of Constantinople, Hagia Sophia was little studied and seldom recognized as a great monument of world art until the nineteenth century, and Nelson examines the causes and consequences of the building's newly elevated status during that time. He chronicles the grand dome's modern history through a vibrant cast of characters—emperors, sultans, critics, poets, archaeologists, architects, philanthropists, and religious congregations—some of whom spent years studying it, others never visiting the building. But as Nelson shows, they all had a hand in the recreation of Hagia Sophia as a modern architectural icon. By many means and for its own purposes, the West has conceptually transformed Hagia Sophia into the international symbol that it is today. While other books have covered the architectural history of the structure, this is the first study to address its status as a modern monument. With his narrative of the building's rebirth, Nelson captures its importance for the diverse communities that shape and find meaning in Hagia Sophia. His book will resonate with cultural, architectural, and art historians as well as with those seeking to acquaint themselves with the modern life of an inspired and inspiring building.
The volume combines for the first time the fields of Classical Reception and World Literature in a pioneering collection of essays by world-leading scholars on modern poetry from various cultural and linguistics backgrounds (Arabic, Chinese, creole, English, French, German, Greek, Hebrew, Italian, Japanese, Spanish).