M. Wyke, Projecting the Past: Ancient Rome, Cinema and History. London: Routledge, 1997. Pp. x + 237, illus. ISBN 0-4159-0613-X (bound); 0-4159-0614-8 (paper). £45.00 (bound); £12.99 (paper). £12.99 (paper)

2004 ◽  
Vol 94 ◽  
pp. 221-222
Author(s):  
Edith Hall
Keyword(s):  
Author(s):  
Shushma Malik

This chapter explores how Wilde uses ‘historic sense’ (the intuition of a learned historian and the antecedent of historical criticism) as a tool with which to analyse the past, particularly the criminal emperors of ancient Rome. In his essay ‘Pen, Pencil, and Poison’, Wilde claims that ‘true historical sense’ in relation to the past allows us to ignore the crimes of Nero and Tiberius, and instead to recognize and appreciate them as artists. His decadent reading of the past is undermined, however, when we compare this version of historically guided intuition with his definition of the phrase in other works. By examining ‘Pen, Pencil, and Poison’ alongside The Picture of Dorian Gray and ‘Epistola: In Carcere et Vinculis’, we can see how Wilde manipulates his readings of the criminal emperors of Rome in order to fit his own changing relationship with Decadence and the (im)morality of crime.


2014 ◽  
Vol 638-640 ◽  
pp. 2253-2256
Author(s):  
Cong Ru Liu ◽  
Ming Sen Lin ◽  
Qing Li

The classicality of the western architecture establishes its foundation at the beginning of the ancient Greece, is flourished in the ancient Rome and revitalized in the renaissance period, extends to the classicism and the classical revival, and finally is overthrown by the postmodernism. By going through development and prosperity in the past thousands of years, the classical spirit has always played a greatly significant role in the field of western architecture design.


Author(s):  
Kristin Gjesdal

Henrik Ibsen’s dramatic oeuvre opens with a handful of historical plays, located in ancient Rome as well as a grand, almost mythological past in Norway. Hedda Gabler, however, presents us with an impatient, existentially dissatisfied, and restless female protagonist who fails actively to connect to the past and live out and carry on her family traditions. We also encounter the male protagonists of Jørgen Tesman and Eilert Løvborg. These are two historians with opposing attitudes to the nature, worth, and relevance of their work. With reference to the Nietzcheanism that prevailed in Scandinavia at the time, this chapter explores the various attitudes to scholarship, history, and life that are being staged in Hedda Gabler.


2015 ◽  
pp. 261-279
Author(s):  
Leszek Mrozewicz

Karl Christ belonged to the most eminent German historians of the ancient Rome of the latter half of the 20th century. He was particularly interested in the Roman Empire and its place in the European history. This was vividly reflected in his “Geschichte der römischen Kaiserzeit”, which had as many as six editions in Germany. The book conveys the conviction that the history of the Roman Empire constitutes a fundament of contemporary Europe, regardless of the assessment it received over the centuries, which was often very negative. Karl Christ believed that in our times, Roman Empire acquires a new meaning in view of the unification of Europe. Naturally enough, this engenders the question whether a similar process had taken place in the past, whether there is a model of unity and if so, whether it has a chance of being successful. It turns out that the Roman Empire, despite its weaknesses and drawbacks, can be the only point of reference, regardless of the ways in which Europe is “unified”. The observation is also applied in a broader perspective which extends beyond Europe. This is associated with the ongoing globalisation, which in its turn provokes questions about a similar phenomenon in the past, and almost automatically evokes the example of the Roman Empire. Therefore Christ decided to provide the reader with a comprehensive compendium of knowledge of the Roman Empire in a structural-dialectic approach, so as to facilitate the understanding of persistence of the ancient realm and its impact on European history, at the same time enabling one to arrive at its spiritual and cultural roots. Christ wished to acquaint the contemporary inhabitant of our continent with the dialectics of development of the Roman world, its structural evolution, internal social and cultural diffusion and finally the development of culture in all its manifestations. The historian believed that only in this fashion, i.e. not only through history of persons and events, based on sensational elements, can one appreciate the place of the Roman Empire in the developmental sequence of the European continent and its significance for the contemporary cultural shape of Europe. This is also reflected in Christ’s studies on the history of historiography, or the image of the history of ancient Rome and the specificity of the Roman Empire that had been created by various authors over the centuries. This is also where he undertook the effort to evaluate the positions assumed by German historians in the Nazi times and during the Communist era, in the German Democratic Republic. Nonetheless, the studies of history of historiography were only a means to an end, which was to promote the awareness of the importance of the Roman world, or Mediterranean civilisation as a whole, for the contemporary European culture as well as highlight its persisting influence. In Christ’s opinion, it is that “dialogue of a historian with history” which demonstrates to the fullest extent the dialectic bond between antiquity and the present day.słowa klucze


2018 ◽  
Vol 20 (2) ◽  
pp. 137-164
Author(s):  
Mary Jacobus

Freud's Civilization and its Discontents (1930) reveals the dynamics of dismemberment or death drive within Freud's text and literary interpretation. Freud's main source for his archeological analogy derives from Lanciani, exponent of the destruction of ancient Rome. Lanciani argued that man was responsible for the destruction of Rome: Freud argues that civilization is responsible for man's unhappiness. Freud's archeological sources cannot help but be read by today's readers in the light of the later destruction of European civilization, especially Jewish civilization, during World War II. Freud's pre-World War II text thus manifests a form of Nachträglichkeit or traumatic return of the past in the future.


1970 ◽  
Vol 4 ◽  
pp. 43-44

‘It has rightly been felt that in the words of Tacitus the authentic voice of ancient Rome is heard for the last time.’ So E. Fraenkel wrote in 1932, and nothing we have learned since about the literature and thought of later antiquity detracts at all from the truth of his words. The age of Trajan marks not the beginning, but the end of an epoch. Then, as scarcely thereafter, specifically Roman ideas of dignitas, grauitas, and uirtus, and that specifically Roman sense of continuity and tradition, still counted for much and conditioned both actions and attitudes. Tacitus speaks both for his own time and for the past.The central conflict between Tacitus’ claim to write dispassionately and the manner in which he does in fact write can never be reconciled or removed. It is no less real because it partly arises from our acceptance of standards of historical accuracy quite unfamiliar to Tacitus.


2016 ◽  
Vol 21 ◽  
Author(s):  
Balaka Basu

Considered as fan works, early modern homages to, derivations from, and continuations of classical texts can help contemporary readers better understand the past and potential future of fan fiction as a queer, emotional, and affectionate investment in the universe of a text. Demonstrating that Sir Philip Sidney's queer, fractured Arcadia can be understood as fan fiction of Virgil's Eclogues shows how readers have always responded to the notion of beloved texts held in the creative commons with traditional fan practices such as subversive slash subtexts, inserted selves, feminine communities of reader-writers, and carefully orchestrated gift economies, whether in ancient Rome, Tudor England, or our own digital era.


2005 ◽  
Vol 6 (2) ◽  
pp. 273-290 ◽  
Author(s):  
Fabrice Larat

“Die Geschichte ist Gegenstand einer Konstruktion, deren Ort nicht die homogene und leere Zeit sondern die von Jetztzeit erfüllte bildet.” wrote Walter Benjamin. “So war für Robespierre das antike Rom eine mit Jetztzeit geladene Vergangenheit, die er aus dem Kontinuum der Geschichte heraussprengte.” (“History is the subject of a construction whose site is not homogeneous, empty time, but time filled full by now-time. Thus, to Robespierre ancient Rome was a past charged with now-time, a past which he blasted out of the continuum of history.)


Sign in / Sign up

Export Citation Format

Share Document