New PDF release: Art and Rhetoric in Roman Culture

ISBN-10: 1139989413

ISBN-13: 9781139989411

Rhetoric used to be basic to schooling and to cultural aspiration within the Greek and Roman worlds. It was once one of many key facets of antiquity that slipped lower than the road among the traditional global and Christianity erected through the early Church in overdue antiquity. old rhetorical thought is captivated with examples and discussions drawn from visible fabric. This ebook mines this wealthy seam of theoretical research from inside of Roman tradition to give an internalist version for a few points of the way the Romans understood, made and preferred their paintings. the certainty of public monuments just like the Arch of Titus or Trajan's Column or of imperial statuary, household wall portray, funerary altars and sarcophagi, in addition to of intimate goods like children's dolls, is vastly enriched by way of being put in appropriate rhetorical contexts created by way of the Roman international.

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67). The work of art stands for itself. There is no speaker addressing himself directly to someone physically present, capable of responding to the interlocutor and assuming his role in turn. 9. See also Plato, Phaedrus 275d; Plutarch Moralia 17f, 58b, 346f, 748a, with Sprigath 2004 and Männlein-Robert 2007b: 20–2. 1 Arch of Titus, east side, with original inscription. After ad 81. style of art selected (logos) and on behalf of someone who purports to express himself in an exemplary way through that work of art (ēthos).

The outstanding modern discussion of ekphrasis is Webb 2009; for a rich art-historically modulated discussion, see Squire 2009: 139–46, 202–38. See Elsner 2002 for an overview and bibliography. The literature is becoming very large on this. Note for instance Elsner 2002: 13–15; Costantini et al. 2006; Primavesi and Giuliani 2012; Abbondanza 2008: 3–93; Newby 2009. On the younger Philostratus, see Ghedini et al. 2004. See Webb 2009: 61–86. 47–9 and Libanius’ Ekphraseis, of which 2–4 and perhaps 21 are of paintings, 12–20, 22–3, 26–8 are of statues, while 25 is of a precinct of Tyche with its statues.

On Jews in Rome making pilgrimage to the artefacts taken from the Temple (and depicted in the Arch of Titus), see Noy 2005. The literature on the arch is vast and not without polemic. Recent accounts include Pensabene and Panella 1999; Neri 2004; Ross Holloway 2004: 19–53; Zanker 2012. 37 That is to say, the arch ‘reveals the greatness of good virtuous actions and other good qualities belonging to a particular person’ (to quote the definition of enkōmium in what is probably the earliest of the Progymnasmata);38 but it is specifically targeted to be simultaneously ‘a generally agreed amplification of the good things attaching to the emperor, but shows no ambivalent or disputed features because of the extreme splendour of the person concerned .

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Art and Rhetoric in Roman Culture

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