War as Spectacle : Ancient and Modern Perspectives on the Display of Armed Conflict
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Published By Bloomsbury Academic

9781474219617, 9781472522290, 9781472524539, 9781472527554

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Animating Ancient Warfare : The Spectacle of War in the Panoply Vase Animations

War as Spectacle : Ancient and Modern Perspectives on the Display of Armed Conflict ◽

10.5040/9781474219617.ch-018 ◽

2015 ◽

Keyword(s):

Ancient Warfare

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Terrence Malick’s The Thin Red Line (TTRL, 1998)World War IIHomeric epicThe Thin Red Line and Homeric Epic : Spectacle, Simile, Scene and Situation

War as Spectacle : Ancient and Modern Perspectives on the Display of Armed Conflict ◽

10.5040/9781474219617.ch-017 ◽

2015 ◽

Keyword(s):

World War ◽

Thin Red Line ◽

Red Line

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Parading War and Victory under the Greek Military Dictatorship : The Hist(o)rionics of 1967–74I am very grateful to Dr Anastasia Bakogianni for her tireless work as a researcher and editor. I thank the contributors to the June 2012 conference, ‘War as Spectacle’, organized by Dr Bakogianni with sponsorship of the Department of Classical Studies at The Open University, Milton Keynes. I am privileged to have had access to a rare source with which to illustrate my chapter: the summary documentary of a day of Greek public festivals in 1967. The documentary was produced for Greek public television, which the military dictators used to deliver news and culture by command. This chapter is a revised version of Van Steen (2010b), and I thank the editors for allowing me to re-use some of my materials. All translations from the original modern Greek sources are my own, unless otherwise noted.

War as Spectacle : Ancient and Modern Perspectives on the Display of Armed Conflict ◽

10.5040/9781474219617.ch-015 ◽

2015 ◽

Keyword(s):

Open University ◽

Public Television ◽

Military Dictatorship ◽

Modern Greek ◽

Classical Studies ◽

The Military ◽

Milton Keynes

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An Unwinding Story : The Influence of Trajan’s Column on the Depiction of Warfare

War as Spectacle : Ancient and Modern Perspectives on the Display of Armed Conflict ◽

10.5040/9781474219617.ch-013 ◽

2015 ◽

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Triumphal Washington : New York City’s First ‘Roman’ ArchAudiences in New York, Pittsburgh and Milton Keynes heard versions of this chapter; their comments greatly improved this work. Many thanks are due to the librarians and staff of the Library of the New York Historical Society. Saskia Stevens’ and George Lewis’ comments greatly improved this paper. This is chapter is dedicated to my children, husband and parents, all of whom have contributed to this paper in their own way.

War as Spectacle : Ancient and Modern Perspectives on the Display of Armed Conflict ◽

10.5040/9781474219617.ch-012 ◽

2015 ◽

Keyword(s):

New York ◽

Historical Society ◽

New York Historical Society ◽

Milton Keynes

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‘The Clash of Weapons and the Sight of War’ : Spectatorship and Identification in Roman EpicI am grateful to Anastasia Bakogianni and Valerie Hope for inviting me to submit a chapter to this volume and to Kyle Gervais and Helen Lovatt for sharing their work with me in advance of publication. Thanks to them and to Bill Owens and Yi-Ting Wang for many helpful comments and suggestions.

War as Spectacle : Ancient and Modern Perspectives on the Display of Armed Conflict ◽

10.5040/9781474219617.ch-004 ◽

2015 ◽

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Plato’s Cinematic Vision : War as Spectacle in Four Dialogues (Timaeus-CritiasLachesLaches, RepublicRepublic, Timaeus and Critias)

War as Spectacle : Ancient and Modern Perspectives on the Display of Armed Conflict ◽

10.5040/9781474219617.ch-008 ◽

2015 ◽

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Lyric Visions of Epic Combat : The Spectacle of War in Archaic Personal Song

War as Spectacle : Ancient and Modern Perspectives on the Display of Armed Conflict ◽

10.5040/9781474219617.ch-006 ◽

2015 ◽

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‘The Greatest Runway Show in History’ : Paul Violi’s ‘House of Xerxes’ and the Herodotean Spectacle of WarI am especially grateful to Anastasia Bakogianni for her detailed and insightful comments on an earlier draft of this chapter, as well as to those who attended The Open University’s ‘War as Spectacle’ conference in 2012 for their encouragement and engagement in discussions which have been instrumental in helping me to refine my own thinking.

War as Spectacle : Ancient and Modern Perspectives on the Display of Armed Conflict ◽

10.5040/9781474219617.ch-007 ◽

2015 ◽

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‘What if We Had a War and Spectacle(s) of warGreek epicEpicGodsSpectacle(s) of warGazeAchillesEverybody Came?’ : War as Spectacle and the Duel of War (ancient)Spectacle(s)DuelIliadIliad 3The arguments advanced in this chapter form part of a book-length study in progress, based on my doctoral dissertation. In the longer study I argue that throughout the Iliad the gods’ role as a viewing ‘audience’ for the spectacle at Troy reflects in complex ways the ongoing experience of Homer’s own, listening audience, who participate in and react to the Iliad as a live event. Since this is a project of many years, it would be impossible to thank here all those who read and critiqued earlier versions of work that became part of this chapter. However, I would like to thank especially: Elizabeth Irwin, Deborah Steiner, Katharina Volk, and my wife, Nina Papathanasopoulou, each of whom made countless invaluable suggestions over a long period of time. I would also like to thank Anastasia Bakogianni for her dedicated editing work, and the other participants at the War as Spectacle conference at The Open University for their warm collegiality.

War as Spectacle : Ancient and Modern Perspectives on the Display of Armed Conflict ◽

10.5040/9781474219617.ch-002 ◽

2015 ◽

Keyword(s):

Doctoral Dissertation ◽

The Other ◽

Open University ◽

Long Period ◽

Form Part

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