The Greco-Roman Revival

2018 ◽  
Author(s):  
Nicholas Halmi
Keyword(s):  
Eighteenth Century ◽  
Classical Tradition ◽  
Visual Arts ◽  
Classical Antiquity ◽  
Traditional Notion ◽  
Greco Roman ◽  
Romantic Poetry ◽  
Classical Myths ◽  
Modern Greece

During the eighteenth century an emergent historicism, which differentiated modernity radically from past ages, questioned the traditional notion of a ‘classical tradition’ of timeless values exemplified in Greek and Roman works. Classical antiquity began to be understood as a repository of historical artefacts associated, in part nostalgically, with ‘primitive’ ways of thought. Such recognition of the distance between modernity and antiquity paradoxically encouraged identification with the latter, since antiquarian research permitted increasingly accurate imitation of classical forms in the visual arts from the 1750s, while anthropological reflection on myth stimulated a revival of mythological poetry from the 1810s. Yet British Romantic poetry, whether describing classical artworks or appropriating classical myths, engaged with classical antiquity ambivalently, often ironically. While espousing the Philhellenist cause of Greek independence from Ottoman rule, Byron and Shelley remained very conscious of the disparities between ancient and modern Greece.

scholarly journals A Geografia e a Cartografia Produzidas na Antiguidade: a contribuição dos clássicos The Geography and Cartography Produced in Antiquity: the Contribution of the Classics

2016 ◽  
Vol 25 (2) ◽  
pp. 60
Author(s):  
Douglas Colaço
Keyword(s):  
Middle Ages ◽  
Visual Arts ◽  
Graduate Program ◽  
The State ◽  
Classical Antiquity ◽  
State University ◽  
Geographical Knowledge ◽  
Greco Roman ◽  
The Middle Ages

Este texto é parte da pesquisa desenvolvida e defendida junto ao Programa de Pós-Graduação Stricto Sensu em Geografia pela Universidade Estadual do Oeste do Paraná. A pesquisa teve o seguinte título: “A unidade de perspectivas entre a geografia e a cartografia medievais: paralelos com as artes visuais”. Contudo, no capítulo I, buscou-se conhecer e compreender a Geografia (e a Cartografia) produzida na Antiguidade Clássica. Desse modo, na integralidade da pesquisa foi possível compreender alguns traços do pensamento geográfico e do cartográfico greco-romano, e comparar as variações conceituais e metodológicas em relação ao conhecimento geográfico e cartográfico produzidos na Idade Média. Sobre a Antiguidade Clássica, evidentemente, os pensadores gregos e romanos não foram os únicos, nem os primeiros, a produzir um conhecimento geográfico (e cartográfico), mas certamente, foram eles os primeiros a melhor sistematizar tais conhecimentos.AbstractThis text is part of the research developed and defended at the Graduate Program Stricto Sensu in Geography from the State University of Western Paraná. The research had the following title: "The unity of outlook between geography and medieval cartography: parallel with the visual arts." However, in Chapter I , I tried to know and understand the geography ( and Cartography ) produced in Classical Antiquity . Thus, in the whole of the research was possible to understand some aspects of geographical thought and the Greco-Roman cartographic, and compare the conceptual and methodological changes in relation to geographic and cartographic knowledge produced in the Middle Ages. On Classical Antiquity, of course, the Greek and Roman thinkers were not the only, nor the first, producing a geographical knowledge (and mapping), but certainly they were the first ones to better systematize such knowledge.  

Brown and Classicism

2019 ◽  
pp. 454-468
Author(s):  
Oliver Scheiding
Keyword(s):  
Eighteenth Century ◽  
Public Opinion ◽  
Classical Tradition ◽  
English Literature ◽  
Charles Brockden Brown ◽  
Public Intellectual ◽  
Classical Antiquity ◽  
Early National Period ◽  
Early National ◽  
National Period

Charles Brockden Brown embraced the classical tradition in English literature, as can be seen from his many references to Greek and Roman historiographers, poets, and philosophers. His retellings of ancient events and his portraits of classical figures questioned central maxims in the writing of history which derived from Cicero and had been practiced by the later school of eighteenth-century exemplary historiography. While Brown’s classicism has been frequently interpreted along the line of the growing political tensions in the 1790s, this chapter shows that his adaptations of classical sources are motivated less by a partisan spirit than by Brown’s understanding of himself as a civic commentator and public intellectual. Brown’s Roman stories and his numerous essays on topics related to classical antiquity have to be seen as an intervention in the formation and enlargement of public opinion in the early national period.

Classical Learning in Britain, France, and the Dutch Republic, 1690-1750

2020 ◽  
Author(s):  
Floris Verhaart
Keyword(s):  
Eighteenth Century ◽  
Ancient Greece ◽  
Classical Antiquity ◽  
General Point ◽  
Classical Literature ◽  
Sources Of Information ◽  
Literary Value ◽  
Age Of Reason ◽  
Renaissance Humanism ◽  
The Enlightenment

The Quarrel of the Ancients and the Moderns in the late seventeenth and early eighteenth centuries was a moment when scholars and thinkers across Europe reflected on how they saw their relationship with the past, especially classical antiquity. Many readers in the Renaissance had appreciated the writings of ancient Latin and Greek authors not just for their literary value, but also as important sources of information that could be usefully applied in their own age. By the late seventeenth century, however, it was felt that the authority of the ancients was no longer needed and that their knowledge had become outdated thanks to scientific discoveries as well as the new paradigms of rationalism and empiricism. Those working on the ancient past and its literature debated new ways of defending their relevance for society. The different approaches to classical literature defended in these debates explain how the writings of ancient Greece and Rome could become a vital part of eighteenth-century culture and political thinking. Through its analysis of the debates on the value of the classics for the eighteenth century, this book also makes a more general point on the Enlightenment. Although often seen as an age of reason and modernity, the Enlightenment in Europe continuously looked back for inspiration from preceding traditions and ages such as Renaissance humanism and classical antiquity. Finally, the pressure on scholars in the eighteenth century to popularize their work and be seen as contributing to society is a parallel for our own time in which the value of the humanities is a continuous topic of debate.

scholarly journals Aspects of reception of classical heritage in biography of despot Stefan Lazarevic of Constantine the Philosopher

2011 ◽  
pp. 287-306
Author(s):  
Nenad Ristovic
Keyword(s):  
Classical Tradition ◽  
Classical Antiquity ◽  
Classical Literature ◽  
The Third ◽  
Greek Thought ◽  
High Estimate

The reception of the classical book heritage in the Biography of Despot Stefan Lazarevic of Constantine the Philosopher (of Kostenec) is noticed through the conspicuous reminiscences on classical antiquity, but it is also manifested through the use of artistic procedures of classical literature and the author?s high estimate of the accomplishment of pre-Christian Greek thought. In the first two types of classicism Constantine surpasses other medieval Serbian writers, while in the third he is unique among them, so his relying on classical tradition in this work is the result both of literary conventions caused by the choice of the genre of secular biography and of his belonging to the most liberal section of medieval Christian intellectuals.

The Arts

2019 ◽  
pp. 131-195
Author(s):  
Murray Pittock
Keyword(s):  
Eighteenth Century ◽  
Visual Arts ◽  
Visual Art ◽  
Public Display ◽  
The Arts ◽  
Outdoor Environments ◽  
Indoor And Outdoor Environments ◽  
Indoor And Outdoor

The growing circulation of visual art and its widening appearance in domestic collections and public display is an important moniker of the advance of consumerism, cosmopolitanism and innovation. What once had been (and for much of the eighteenth century still remained) an international aristocratic pastime suffused itself steadily into the houses and purchases of the professional well-to-do, bringing with it variety of origin, variety of subject, and whole new genres which could inflect the manner in which indoor and outdoor environments were represented and understood as they came under the control of society’s elites. Such new images could, in their turn, embed the centrality of questions of landscape, geographical conditions and human societies in the ideas of Enlightenment thinkers who moved in intellectual spheres much removed from the visual arts.

Introduction

2020 ◽  
pp. 1-6
Author(s):  
Duane W. Roller
Keyword(s):  
Black Sea ◽  
Classical Antiquity ◽  
Asia Minor ◽  
The Black Sea ◽  
Alexander The Great ◽  
Greco Roman ◽  
Black Sea Coast ◽  
The Alps ◽  
South Shore ◽  
Sea Coast

In early 63 BC, Mithridates the Great, king of Pontos, who ruled a territory that included most of the Black Sea coast, was in residence at his palace at Pantikapaion, just north of the sea. For thirty years he had been fighting the Romans for dominance in Asia Minor and beyond, and although he had won numerous victories, the overall trajectory was one of steady defeat for the king as Roman power spread to the east. He had been forced to abandon his traditional capital of Sinope, on the south shore of the sea, and retreat to the farthest corner of his kingdom at Pantikapaion, one of the most remote cities of the Greco-Roman world, where winters were unimaginably cold and the barbarian threat was ever present. Many of his allies and much of his family had abandoned him. Although he planned an invasion of Italy by going up the Danube and south through the Alps, imitating his famous predecessor Hannibal, he devoted most of his time to botany and pharmacology, in the long-standing tradition of scholarly royalty. But eventually he realized that he had no other options, and thus asked a bodyguard to kill him. Thus ended the career of one of the most remarkable leaders of classical antiquity, the man whom his younger contemporary Cicero called “the greatest king since Alexander [the Great].”...

Matter, Form, Abstraction

2020 ◽  
pp. 145-202
Author(s):  
Jonah Siegel
Keyword(s):  
Eighteenth Century ◽  
Visual Arts ◽  
Henry James ◽  
George Eliot ◽  
Literary Texts ◽  
New Creation ◽  
Late Eighteenth Century ◽  
Late Eighteenth ◽  
Late Nineteenth

This chapter addresses the constantly shifting forms that mediated audiences’ experiences of admired antiquities from the late eighteenth century to the late nineteenth. Literary texts and reproductive prints not only diffused knowledge of ancient art, but shaped new creation in literature and the visual arts, which in turn contributed to the establishment of new aesthetic norms. Through analyses of authors ranging from Lessing to Winckelmann, from Coleridge to Blake, from George Eliot to Henry James, and culminating with Ruskin and Pater, this chapter argues that the emergence of an ever-more abstract and formalist vision of antiquity was shaped by the ongoing shifts in the cultural presence of antique objects.

Making an Ass of Yourself in Narrative

2020 ◽  
pp. 39-73
Author(s):  
Jane Spencer
Keyword(s):  
Eighteenth Century ◽  
Classical Tradition ◽  
Christian Tradition ◽  
Biblical Story ◽  
Ancient Novel ◽  
Cultural Status ◽  
Animal Representation

Through close readings of literary asses in Sterne, Coleridge, Wordsworth, and Clare, this chapter argues that the development of sympathetic animal representation is marked by an ambivalence emblematized by the figure of the donkey. The chapter outlines the donkey’s ambiguous cultural status, discussing narratives from two different traditions: the Judeo-Christian tradition in which the meek ass is revered for its lowliness, and the classical tradition in which it is scorned. The biblical story of Balaam’s ass, in which the ass speaks against her master’s cruelty, is interpreted literally in the eighteenth century as teaching compassion to animals. In Apuleius’ ancient novel The Golden Ass the narrator, transformed into an ass, is a low, lustful, stupid beast. Both narratives influence the eighteenth-century donkey representations discussed here. The writers’ tonal complexities are traced to the fear that to sympathize with animals is to be transformed, like Apuleius’ narrator, into an ass.

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