Restoration

Author(s):  
Christopher Siwicki

This chapter opens by considering the functional and ideological reasons behind the rebuilding of structures in ancient Rome. It then moves into a discussion of agency in restoration, examining the extent to which it was the patrons, architects, or other individuals who were responsible for decisions regarding the designs of buildings. The final part of the chapter aims to show the prevailing Roman approach to the restoration of public buildings and sets out a key premise which informs the rest of the study. Briefly, this is that restoration was consistently carried out in an innovative manner, which involved designs being made grander, updated in line with contemporary architectural practices, and with no overt attempt made to purposefully preserve the former appearance of a building for historical reasons.

2014 ◽  
Vol 64 (1) ◽  
pp. 214-225 ◽  
Author(s):  
Luca Grillo

In the litigious world of ancient Rome patroni were often torn between conflicting bonds of loyalty, and this is the dilemma that Cicero laments in the exordium of the Pro Plancio (5). Both the prosecutor, Laterensis, and the accused, Plancius, were personal friends, and Cicero bemoans the quandary: either upsetting Laterensis by comparing him unfavourably with Plancius, or letting down his client. A second problem for Cicero was that the prosecution also took the opportunity to impugn him as the creature of Pompey and Caesar, so that Cicero had to defend himself as much as his client. Two examples of sermocinatio (an imaginary dialogue with a personified entity) helped him to face these challenges: these sermocinationes are Cicero's main strategy for getting out of the conundrum but, in spite of their relevance to his line of argument, they have received very little attention. In this article, after a brief historical contextualization, I analyse each sermocinatio, arguing that Cicero cunningly sets aside the dilemma of comparing two friends by constructing an alternative comparison between Laterensis and himself, and that such a comparison, which is highly selective, re-establishes his own positive public image. The two sermocinationes, moreover, also display some meaningful textual references which have remained unnoticed: in the final part of this paper I set them against the backdrop of Plato's Crito and of Cicero's letter to Lentulus (Fam. 1.9), arguing that the reference to the Crito supports Cicero's strategy of contrasting himself with Laterensis and that comparison with Fam. 1.9 illuminates the connection between the Pro Plancio and Cicero's broader post reditum self-defence.


1996 ◽  
Vol 26 (11) ◽  
pp. 1246-1252 ◽  
Author(s):  
A. CUSTOVIC ◽  
R. GREEN ◽  
S. C. O. TAGGART ◽  
A. SMITH ◽  
C. A. C. PICKERING ◽  
...  

2006 ◽  
Vol 175 (4S) ◽  
pp. 309-309
Author(s):  
Jennifer R. Hill
Keyword(s):  

2018 ◽  
Vol 2018 (1) ◽  
pp. 83-96
Author(s):  
Ramon Reichert

The history of the human face is the history of its social coding and the media- conditions of its appearance. The best way to explain the »selfie«-practices of today’s digital culture is to understand such practices as both participative and commercialized cultural techniques that allow their users to fashion their selves in ways they consider relevant for their identities as individuals. Whereas they may put their image of themselves front stage with their selfies, such images for being socially shared have to match determinate role-expectations, body-norms and ideals of beauty. Against this backdrop, collectively shared repertoires of images of normalized subjectivity have developed and leave their mark on the culture of digital communication. In the critical and reflexive discourses that surround the exigencies of auto-medial self-thematization we find reactions that are critical of self-representation as such, and we find strategies of de-subjectification with reflexive awareness of their media conditions. Both strands of critical reactions however remain ambivalent as reactions of protest. The final part of the present article focuses on inter-discourses, in particular discourses that construe the phenomenon of selfies thoroughly as an expression of juvenile narcissism. The author shows how this commonly accepted reading which has precedents in the history of pictorial art reproduces resentment against women and tends to stylize adolescent persons into a homogenous »generation« lost in self-love


Author(s):  
Daniel Martin Feige

Der Beitrag widmet sich der Frage historischer Folgeverhältnisse in der Kunst. Gegenüber dem Gedanken, dass es ein ursprüngliches Werk in der Reihe von Werken gibt, das späteren Werken seinen Sinn gibt, schlägt der Text vor, das Verhältnis umgekehrt zu denken: Im Lichte späterer Werke wird der Sinn früherer Werke neu ausgehandelt. Dazu geht der Text in drei Schritten vor. Im ersten Teil formuliert er unter der Überschrift ›Form‹ in kritischer Abgrenzung zu Danto und Eco mit Adorno den Gedanken, dass Kunstwerke eigensinnig konstituierte Gegenstände sind. Die im Gedanken der Neuverhandlung früherer Werke im Lichte späterer Werke vorausgesetzte Unbestimmtheit des Sinns von Kunstwerken wird im zweiten Teil unter dem Schlagwort ›Zeitlichkeit‹ anhand des Paradigmas der Improvisation erörtert. Der dritte und letzte Teil wendet diese improvisatorische Logik unter dem Label ›Neuaushandlung‹ dann dezidiert auf das Verhältnis von Vorbild und Nachbild an. The article proposes a new understanding of historical succession in the realm of art. In contrast to the idea that there is an original work in the series of works that gives meaning to the works that come later, the text proposes to think it exactly the other way round: in the light of later works, the meanings of earlier works are renegotiated. The text proceeds in three steps to develop this idea. Under the heading ›Form‹ it develops in the first part a critical reading of Danto’s and Eco’s notion of the constitution of the artworks and argues with Adorno that each powerful work develops its own language. In the second part, the vagueness of the meaning of works of art presupposed in the idea of renegotiating earlier works in the light of later works is discussed under the term ›Temporality‹ in terms of the logic of improvisation. The third and final part uses this improvisational logic under the label ›Renegotiation‹ to understand the relationship between model and afterimage in the realm of art.


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.


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