WINNER OF THE LONDON HELLENIC PRIZE SHORTLISTED FOR THE ANGLO-HELLENIC RUNICMAN AWARD A SUNDAY TIMES AND SPECTATOR BOOK OF THE YEAR 'A gloriously intimate tour of the body in antiquity' Gavin Francis 'A triumph ... an extraordinary book that stopped me in my tracks' Peter Frankopan The Greek and Roman body is often seen as flawless - cast from life in buff bronze and white marble, to sit upon a pedestal. But this, of course, is a lie. Here, classicist Caroline Vout reaches beyond texts and galleries to expose Greek and Roman bodies for what they truly were: anxious, ailing, imperfect, diverse, and responsible for a legacy as lasting as their statues. Taking us on a gruesome, thrilling journey, she taps into the questions that those in the Greek and Roman worlds asked about their bodies - where do we come from? What makes us different from gods and animals? What happens to our bodies, and the forces that govern them, when we die? You've seen the paintings, read the philosophers and heard the myths - now here's the classical body in all its flesh and blood glory.
Rome is 'the city of seven hills'. This book examines the need for the 'seven hills' cliché, its origins, development, impact and borrowing. It explores how the cliché relates to Rome's real volcanic terrain and how it is fundamental to how we define this. Its chronological remit is capacious: Varro, Virgil and Claudian at one end, on, through the work of Renaissance antiquarians, to embrace frescoes and nineteenth-century engravings. These artists and authors celebrated the hills and the views from these hills, in an attempt to capture Rome holistically. By studying their efforts, this book confronts the problems of encapsulating Rome and 'cityness' more broadly and indeed the artificiality of any representation, whether a painting, poem or map. In this sense, it is not a history of the city at any one moment in time, but a history of how the city has been, and has to be, perceived.
How did the statues of ancient Greece wind up dictating art history in the West? How did the material culture of the Greeks and Romans come to be seen as "classical" and as "art"? What does "classical art" mean across time and place? In this ambitious, richly illustrated book, art historian and classicist Caroline Vout provides an original history of how classical art has been continuously redefined over the millennia as it has found itself in new contexts and cultures. All of this raises the question of classical art's future. What we call classical art did not simply appear in ancient Rome, or in the Renaissance, or in the eighteenth-century Academy. Endlessly repackaged and revered or rebuked, Greek and Roman artifacts have gathered an amazing array of values, both positive and negative, in each new historical period, even as these objects themselves have reshaped their surroundings. Vout shows how this process began in antiquity, as Greeks of the Hellenistic period transformed the art of fifth-century Greece, and continued through the Roman empire, Constantinople, European court societies, the neoclassical English country house, and the nineteenth century, up to the modern museum. A unique exploration of how each period of Western culture has transformed Greek and Roman antiquities and in turn been transformed by them, this book revolutionizes our understanding of what classical art has meant and continues to mean.
WINNER OF THE LONDON HELLENIC PRIZE SHORTLISTED FOR THE ANGLO-HELLENIC RUNICMAN AWARD A SUNDAY TIMES AND SPECTATOR BOOK OF THE YEAR 'A gloriously intimate tour of the body in antiquity' Gavin Francis 'A triumph ... an extraordinary book that stopped me in my tracks' Peter Frankopan The Greek and Roman body is often seen as flawless - cast from life in buff bronze and white marble, to sit upon a pedestal. But this, of course, is a lie. Here, classicist Caroline Vout reaches beyond texts and galleries to expose Greek and Roman bodies for what they truly were: anxious, ailing, imperfect, diverse, and responsible for a legacy as lasting as their statues. Taking us on a gruesome, thrilling journey, she taps into the questions that those in the Greek and Roman worlds asked about their bodies - where do we come from? What makes us different from gods and animals? What happens to our bodies, and the forces that govern them, when we die? You've seen the paintings, read the philosophers and heard the myths - now here's the classical body in all its flesh and blood glory.
This book investigates multiple facets of the emerging discipline of Tangible, Embodied, and Embedded Interaction (TEI). This is a story of atoms and bits. We explore the interweaving of the physical and digital, toward understanding some of their wildly varying hybrid forms and behaviors. Spanning conceptual, philosophical, cognitive, design, and technical aspects of interaction, this book charts both history and aspirations for the future of TEI. We examine and celebrate diverse trailblazing works, and provide wide-ranging conceptual and pragmatic tools toward weaving the animating fires of computation and technology into evocative tangible forms. We also chart a path forward for TEI engagement with broader societal and sustainability challenges that will profoundly (re)shape our children’s and grandchildren’s futures. We invite you all to join this quest.
Draws on the mystical writings of St. Teresa of Avila to explore how to maintain a connection with the divine, in a guide that compares the human soul to a crystal castle with rooms representing various stages of spiritual development.
How did the statues of ancient Greece wind up dictating art history in the West? How did the material culture of the Greeks and Romans come to be seen as "classical" and as "art"? What does "classical art" mean across time and place? In this ambitious, richly illustrated book, art historian and classicist Caroline Vout provides an original history of how classical art has been continuously redefined over the millennia as it has found itself in new contexts and cultures. All of this raises the question of classical art's future. What we call classical art did not simply appear in ancient Rome, or in the Renaissance, or in the eighteenth-century Academy. Endlessly repackaged and revered or rebuked, Greek and Roman artifacts have gathered an amazing array of values, both positive and negative, in each new historical period, even as these objects themselves have reshaped their surroundings. Vout shows how this process began in antiquity, as Greeks of the Hellenistic period transformed the art of fifth-century Greece, and continued through the Roman empire, Constantinople, European court societies, the neoclassical English country house, and the nineteenth century, up to the modern museum. A unique exploration of how each period of Western culture has transformed Greek and Roman antiquities and in turn been transformed by them, this book revolutionizes our understanding of what classical art has meant and continues to mean.
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