Political image-making—especially from the Age of Augustus, when the Roman Republic evolved into a system capable of governing a vast, culturally diverse empire—is the focus of this masterful study of Roman culture. Distinguished art historian and classical archaeologist John Pollini explores how various artistic and ideological symbols of religion and power, based on Roman Republican values and traditions, were taken over or refashioned to convey new ideological content in the constantly changing political world of imperial Rome. Religion, civic life, and politics went hand in hand and formed the very fabric of ancient Roman society. Visual rhetoric was a most effective way to communicate and commemorate the ideals, virtues, and political programs of the leaders of the Roman State in an empire where few people could read and many different languages were spoken. Public memorialization could keep Roman leaders and their achievements before the eyes of the populace, in Rome and in cities under Roman sway. A leader’s success demonstrated that he had the favor of the gods—a form of legitimation crucial for sustaining the Roman Principate, or government by a “First Citizen.” Pollini examines works and traditions ranging from coins to statues and reliefs. He considers the realistic tradition of sculptural portraiture and the ways Roman leaders from the late Republic through the Imperial period were represented in relation to the divine. In comparing visual and verbal expression, he likens sculptural imagery to the structure, syntax, and diction of the Latin language and to ancient rhetorical figures of speech. Throughout the book, Pollini’s vast knowledge of ancient history, religion, literature, and politics extends his analysis far beyond visual culture to every aspect of ancient Roman civilization, including the empire’s ultimate conversion to Christianity. Readers will gain a thorough understanding of the relationship between artistic developments and political change in ancient Rome.
This book constitutes the first comprehensive publication of a cache of eight bronzes from east-central Gaul. The types of objects and accompanying inscriptions suggest that these bronzes originally came from a sanctuary of a god named Cobannus. The first part of the book describes, analyzes, and interprets the individual objects, which are divided between the J. Paul Getty Museum and the Shelby White - Leon Levy Collection. The latter part of this work places the cache within a chronological, cultic, and cultural context. The Cobannus hoard is valuable not only from an artistic point of view but also for the information it provides on many different aspects of the religious, social, and political life of Roman Gaul. The book is lavishly illustrated, with 2 maps and 117 illustrations.
Think of a question – any question! (okay, maybe not a question like "what was the name of my physics teacher?"). Then turn to a page, and experience the magic… the magic of F**k It. We all have questions. And the bestselling F**k It books have provided answers to hundreds of thousands of people around the world. The F**k It philosophy – of not worrying so much, of letting go more, of caring less what others think and doing your own thing – has provided answers that work in real life, every day.In F**k It Is the Answer, John C. Parkin adds another element to the F**k It mix: by inviting you to ask your question, and then turn randomly to a page that offers you a F**k It-style answer, he recruits the magical powers of your own unconscious… or ‘fate’… or ‘spirit’… or whatever it is that seems to guide us to the correct answers when we allow it. So this book is about ‘allowing it’. Just as F**k It is about ‘allowing it’ – relaxing, trusting, going with the flow, and allowing the magic to happen. This book is F**k It Squared: taking the powerful wisdom of F**k It, and then recruiting whatever worldly or unworldly magic it is that makes this work.Make no mistake though: work it does.So… ask your question, and turn to a page.
What is it that accounts for the differences between musical beginners, advanced music makers, and world class performers? Virtually everyone likes music and has the capacity to be musical in some way (despite what some may say about themselves). Yet far fewer people come to be so involved with it that they identify themselves as musicians, and fewer still become musicians of international class. Psychology for Musicians provides the basis for answering this question. Examining the processes that underlie the acquisition of musical skills, Lehmann, Sloboda, and Woody provide a concise, accessible, and up-to-date introduction to psychological research for musicians.
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