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Analysing the imageries prevalent among the citizens of the young Turkish Republic in the post-Catastrophe Smyrna/Izmir, this article aims to shed light on the reflections of the destruction, forced migration, and economic provincialization of the ethnically-cleansed city. Aside from regular newspaper reports, travelogues and other popular literature accounts produced by local Muslims also recounted the haunting character of the ravaged region. The common word ‘loss’ in these post-Catastrophe narratives indicates what is apprehended by the imagery and discourse of mourning, trauma, sadness, and nostalgia from the victors’ perspective.
Cicero is one of the most important historical figures of classical antiquity. He rose from a provincial family to become consul at Rome in 63 BC and continued to play an active role in politics before his murder under the triumvirs Octavian, Mark Antony, and Lepidus. He also engaged in Roman intellectual culture, writing key works on both rhetoric and philosophy. We have a very large body of written evidence by and about him – far more than for any other figure of the Roman Republic – including private correspondence not intended for publication. However, previous biographers – in mapping his political career – have mostly overlooked his other activities. Taking a broader perspective enables a much fuller and richer profile of him to emerge. This epochal new portrait of Rome's great orator offers a more complete picture of the man, his personality, and his works in the overall context of his remarkable life.
The Parthenon’s structure suggests a thought-out design particularly attentive to light. This includes the orientation of the building towards the rising sun, the placement of windows, the use of barriers and grilles, the translucent marble ceilings, the skylights, and even ‘reflective’ pools of various liquid. These are all devices that, alongside bright materials, may have been used to enhance the experience of visitors to the temple and their encounter with the colossal gold and ivory statue of the goddess Athena. To test the validity and the effect that each of these purported design strategies produced, this article proposes an experiment using advanced 3D digital technologies, along with physically based lighting simulations, to recreate the ambient and architectural conditions that existed in the original temple design. The results suggest that this temple, contrary to long-standing beliefs that imagined the interior as a ‘bright marble space’, was generally quite dark and dim. The subsequent discussion and concluding remarks suggest that the illumination of the chryselephantine statue’s materials through the glow of a lamp, and on rare occasions from the sun, probably represented the pinnacle of the viewing encounters.
In this book Robert Roreitner offers a fresh interpretation of Aristotle's philosophically intriguing answers to what the nature of perception is, how it can be explained, and how perception is distinguished from mere appearance. He argues that for Aristotle, perception is a complete passive activity, and explains why this notion merely appears self-contradictory to us. He shows how Aristotle succeeds in integrating causal, qualitative, and relational aspects of perception, and explains why he is neither a 'spiritualist' nor a 'materialist'. He presses and resolves an unappreciated dilemma for Aristotle's hylomorphic account of perception and the role of the soul therein. This rich study shows that although Aristotle's understanding of perception may be in many respects outmoded, its core insights remain philosophically engaging. This title is also available as Open Access on Cambridge Core.
This book is the first study of the persistence and significance of ancient lyric in imperial Greek culture. Redefining lyric reception as a phenomenon ranging from textual engagement with ancient poems to the appropriation of song traditions, Francesca Modini reconsiders the view of imperial culture (paideia) as dominated by Homer and fifth-century Attic literature. She argues that textual knowledge of lyric allowed imperial writers to show a more sophisticated level of paideia, and her analysis further reveals how lyric traditions mobilised distinctive discourses of self-fashioning, local identity, community-making and power crucial for Greeks under Rome. This is most evident in the works of Aelius Aristides, who reconfigured ancient lyric to shape his rhetorical persona and enhance his speeches to imperial communities. Exploring Aristides' lyric poetics also changes how we interpret his reconstruction of the classical tradition and his involvement in the complex politics of the Empire.
The consulship was the highest office in the Roman Republic. At the end of their term ex-consuls automatically attained the status of consulares, remained members of the Senate for life, gained prestige and influence in Rome and were therefore expected to play a prominent role in Roman politics and society. Holding the consulship by no means marked the end of a consular's political activities. But what did ex-consuls do from the time they completed their consulship until their death? What was their political career? What was their political role in the Senate? What kinds of public tasks and duties did they perform for the res publica? What function did consulares play in Roman society, and how strong was their leadership capacity? This is the first book in any language on the political role of ex-consuls, who formed the top level of the aristocracy during the Roman Republic.
This article discusses Ovid’s allusive engagement in Tr. 1.2.75–80 with his own earlier works, as well as with the works of his elegiac predecessors—Propertius and Tibullus—and of Catullus. It is argued that this suggestive intertextuality may point toward Ovid’s re-articulation of his conceptualization of elegy as it is now to be written from exile.