Punishment after death: Mutilation of images and corpse abuse in ancient Rome

Mortality ◽  
2001 ◽  
Vol 6 (1) ◽  
pp. 45-64 ◽  
Author(s):  
Eric R. Varner
Keyword(s):  
2006 ◽  
Vol 175 (4S) ◽  
pp. 309-309
Author(s):  
Jennifer R. Hill
Keyword(s):  

Author(s):  
Alexander Kukharev ◽  
Alexander Rusu

This article discusses adaptation of the norms and ideals of Roman law to modern legal culture, the basis of Roman legal relations, which is the basis of modern law-making. It is important to learn how the culture of the law of ancient Rome influenced the formation of modern law of the digital age. The purpose of writing the paper was to highlight the influence of the legal culture of ancient Rome on modern reality.


2019 ◽  
pp. 14-31
Author(s):  
P.V. Kuzenkov

The article offers a new evaluation of the wellknown phenomenon of cultural renaissance of the peoples of the Middle East and Egypt of the Syrians, the Copts, the Armenians, the Georgians, etc., in the first centuries AD. This period is commonly associated with the spreading of Christianity around the territory of the Roman Empire and the Parthian, later on Sassanid Iran. According to the author there are reasons to regard the genesis of the Christianity in the Middle East as a single yet multifaceted process of transformation of the Late Antiquity culture in its totality of the Eucumene, from the Atlantic Ocean to the Pamir mountains. The essence of this process could roughly be defined as overcoming the Hellenistic culture crisis called forth by the ever deepening disparity between the transcendental intellectual environment it had given rise to, on the one hand, and its ideological nucleus rooted in the archaic Greek mythology, on the other. The only feasible recourse out of this crisis was the appearance of a new cultural nucleus, conventionally described as the canonized sacred text (The Holy Scriptures). This nucleus, together with the Hellenistic cultural and technological achievements (general literacy, school education, science, literature, symbolic culture, etc.) gave rise to religious civilizations with Christianity as the principal example. Thus, the author describes the historical transition from the Late Hellenistic and Post Hellenistic cultures of the Ancient Rome and the Ancient Middle East that resulted in the new nationallytinged in form but supranational in content cultures of the Christianity in the Middle East.В статье предлагается новая оценка известного феномена культурного возрождения народов Ближнего Востока и ЕгиптоСирийцев, Коптов, Армян, Грузин и др. в первые века нашей эры. Этот период обычно связывают с распространением христианства по территории Римской Империи и Парфянского, позднее Сасанидского Ирана. По мнению автора есть основания рассматривать генезис христианства на Ближнем Востоке как единый, но многогранный процесс трансформации культуры поздней Античности в ее тотальности Ойкумены, от Атлантического океана до Памирских гор. Суть этого процесса можно приблизительно определить как преодоление кризиса эллинистической культуры, вызванного все более углубляющимся несоответствием между трансцендентальной интеллектуальной средой, которую она породила, с одной стороны, и ее идеологическим ядром, коренящимся в архаической греческой мифологии, с другой. Единственным возможным выходом из этого кризиса было появление нового культурного ядра, условно описываемого как канонизированный священный текст (Священное Писание). Это ядро, наряду с эллинистическими культурными и технологическими достижениями (общая грамотность, школьное образование, наука, литература, символическая культура и др.) породило религиозные цивилизации с христианством, в качестве основного примера. Таким образом, автор описывает исторический переход от Позднеэллинистической и Постэллинистической культур Древнего Рима и Древнего Ближнего Востока к новым национально окрашенным по форме, но наднациональным по содержанию культурам христианства в Cредние века.


2019 ◽  
Vol 29 (1) ◽  
pp. 189-202

The article advances a hypothesis about the composition of Michel de Montaigne’s Essays. Specialists in the intellectual history of the Renaissance have long considered the relationship among Montaigne’s thematically heterogeneous thoughts, which unfold unpredictably and often seen to contradict each other. The waywardness of those reflections over the years was a way for Montaigne to construct a self-portrait. Spontaneity of thought is the essence of the person depicted and an experimental literary technique that was unprecedented in its time and has still not been surpassed. Montaigne often writes about freedom of reflection and regards it as an extremely important topic. There have been many attempts to interpret the haphazardness of the Essays as the guiding principle in their composition. According to one such interpretation, the spontaneous digressions and readiness to take up very different philosophical notions is a form of of varietas and distinguo, which Montaigne understood in the context of Renaissance philosophy. Another interpretation argues that the Essays employ the rhetorical techniques of Renaissance legal commentary. A third opinion regards the Essays as an example of sprezzatura, a calculated negligence that calls attention to the aesthetic character of Montaigne’s writing. The author of the article argues for a different interpretation that is based on the concept of idleness to which Montaigne assigned great significance. He had a keen appreciation of the role of otium in the culture of ancient Rome and regarded leisure as an inner spiritual quest for self-knowledge. According to Montaigne, idleness permits self-directedness, and it is an ideal form in which to practice the freedom of thought that brings about consistency in writing, living and reality, in all of which Montaigne finds one general property - complete inconstancy. Socratic self-knowledge, a skepticism derived from Pyrrho of Elis and Sextus Empiricus, and a rejection of the conventions of traditional rhetoric that was similar to Seneca’s critique of it were all brought to bear on the concept of idleness and made Montaigne’s intellectual and literary experimentation in the Essays possible.


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.


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