Anteros: A Forgotten Myth explores how the myth of Anteros disappears and reappears throughout the centuries, from classical Athens to the present day, and looks at how the myth challenges the work of Freud, Lacan, and Jung, among others. It examines the successive cultural experiences that formed and inform the myth and also how the myth sheds light on individual human experience and the psychoanalytic process.

Topics of discussion include:

• Anteros in the Italian Renaissance, the French Enlightenment and English Modernism
• psychologizing Anteros: Freud, Lacan, Girard, and Jung
• three anterotic moments in a consulting room.

This book presents an important argument at the boundaries of the disciplines of analytical psychology, psychoanalysis, art history, and mythology. It will therefore be essential reading for all analytical psychologists and psychoanalysts as well as art historians and those with an interest in the meeting of psychoanalytic thought and mythology.

The Luxor Temple of Amun-Re, built to commemorate the divine power of the pharaohs, is one of the iconic monuments of New Kingdom Egypt. In the 4th century C.E., the Roman Imperial government, capitalizing on the site's earlier significance, converted the temple into a military camp and constructed a lavishly painted cult chamber dedicated to the four emperors of the Tetrarchy. These frescoes provide fascinating insight into the political landscape of the late Roman Empire and, as the only surviving wall paintings from the tetrarchic period, into the history of Roman art. The culmination of a groundbreaking conservation project, this volume brings together scholars across disciplines for a comprehensive look at the frescoes and their architectural, archaeological, and historical contexts. More than 150 stunning illustrations present the paintings for the first time in their newly conserved state, along with a selection of 19th-century documentary watercolors. This remarkable publication illustrates how physical context, iconography, and style were used to convey ideology throughout Rome's provinces. Published in association with the American Research Center in Egypt, Inc.

In the fifth century BCE, an artistic revolution occurred in Greece, as sculptors developed new ways of representing bodies, movement, and space. The resulting 'classical' style would prove influential for centuries to come. Modern scholars have traditionally described the emergence of this style as a steady march of progress, culminating in masterpieces like the Parthenon sculptures. But this account assumes the impossible: that the early Greeks were working tirelessly toward a style of which they had no prior knowledge. In this ambitious work, Richard Neer draws on recent work in art history, archaeology, literary criticism, and art theory to rewrite the story of Greek sculpture. He provides new ways to understand classical sculpture in Greek terms, and carefully analyzes the relationship between political and stylistic histories. A much-heralded project, "The Emergence of the Classical Style in Greek Sculpture" represents an important step in furthering our understanding of the ancient world.

In the depths of the Kara Kum desert in Turkmenistan, one of the largest deserts in the world, Victor Sarianidi has excavated the country of Margush (Margiana). Its capital was the city of Gonur, which consisted of a unique ensemble of temples and palaces dating from the end of the third to the beginning of the second millennia BC. In addition to the capital city, Sarianidi excavated the Gonur necropolis, with almost 3000 tombs. This is the largest necropolis of the period to have been excavated in the Near East. Th e funeral gifts and personal adornments from the Gonur tombs have an amazing, unique beauty and are worthy of comparison with the fi nest examples of ancient oriental art from Mesopotamia, Asia Minor and the Aegean world. Research in this area has made it possible to conclude that the first monotheistic religion in the world, Zoroastrianism, originated in Margiana. Th is statement is supported by the finds that related to the funeral rituals and procedures observed in the Gonur necropolis. The Margiana culture proved to be so highly advanced that scholars increasingly hold the view that Bronze Age Central Asia was one of the main civilizations of ancient times, alongside Mesopotamia, Egypt, India and China. Th is book contains the results of the excavations, anthropological observations based on the skeletons found, and a large number and wide variety of finds.

This comprehensive catalogue of ancient terracotta oil lamps found in Cyprus situates the objects within larger cultural and social contexts and elucidates their varied decoration The fourth catalogue in a series that documents the renowned Cesnola Collection of Cypriot Art, this book focuses on the collection's 453 terracotta oil lamps dating from the Classical, Hellenistic, Roman, and Early Byzantine periods. The rich iconography on many of these common, everyday objects offers a rare look into daily life on Cyprus in antiquity and highlights the island's participation in Roman artistic and cultural production. Each lamp is illustrated, and the accompanying text addresses the objects' typology, decoration, and makers' marks while providing new insights into art, craft, and trade in the ancient Mediterranean. Published by The Metropolitan Museum of Art/Distributed by Yale University Press

Text in Danish.

A survey of how the Aegean peoples expressed themselves during a period of some 5000 years after the end of the Bronze Age (circa 1100 BC), and before the rise of Greek art. Work produced in the ambience of the palaces of Crete (including the palace of Minos at Knossos) and of Mycenae on the mainland is fully described and illustrated. For purposes of clarity the arts are considered by function and material rather than by geographical region or chronological period; but the main political upheavals affecting them are kept in mind. Little wall-painting has survived, and the so-called minor arts are examined for the light they thow on it, as well as to assess artistic development in the Aegean as a whole.

Alexander the Great changed the face of the ancient world. During his life and after his death, his image in works of art exerted an unprecedented influence-on marbles, bronzes, ivories, frescoes, mosaics, coins, medals, even painted pottery and reliefware. Alexander's physiognomy became the most famous in history. But can we really know what meaning lies behind these images?
Andrew Stewart demonstrates that these portraits--wildly divergent in character, quality, type, provenance, date, and purpose--actually transmit not so much a "likeness" of Alexander as a set of carefully crafted cliches that mobilize the "notion" "Alexander" for diverse ends and diverse audiences. Stewart discusses the portraits as studies in power and his original interpretation of them gives unprecedented fullness and shape to the idea and image called "Alexander."

This book argues that touch and movement played a significant role, long overlooked, in generating perceptions of ancient material culture in the late 18th century. At this time the reception of classical antiquity had been transformed. Interactions with material culture – ruins, sculpture, and artefacts – formed the core of this transformation. Some such interactions were proto-archaeological, such as the Dilettanti expeditions to Athens and Asa Minor; others were touristic, seen in the guidebooks consulted by travellers to Rome and the diaries they composed; and others creative, resulting in novels, poetry, and dance performances. Some involved the reproduction of experience in a gallery or museum setting. What all encounters with ancient material culture had in common, however, is their haptic sensory basis. The sense typically associated with the Enlightenment is vision, but this has obscured the equally important contribution made by touch and movement to the way in which a newly materialised Graeco-Roman world was perceived. Kinaesthesia, or the sense of self-movement, is rarely recognised in its own right, but because all encounters with sites and objects are embodied, and all embodiment takes place in motion, this sense is vital to forming more abstract or imaginative impressions. Theories of embodied cognition propose that all intellectual processes are also physical. This book shows how ideas about classical antiquity in the volatile milieu of the late 18th century developed as a result of diverse kinaesthetic relationships.

The last major work of the giant of the field. Martin P. Nilsson set himself the task of tracing the elements of Greekmythology, as they appear in Homer's Iliad, to their source in Mycenaean culture, a much earlier period. His conclusions, drawn from a very limited empirical material - archaeology, very few relevant Linear B texts - are remarkably compelling. This title is part of UC Press's Voices Revived program, which commemorates University of California Press's mission to seek out and cultivate the brightest minds and give them voice, reach, and impact. Drawing on a backlist dating to 1893, Voices Revived makes high-quality, peer-reviewed scholarship accessible once again using print-on-demand technology. This title was originally published in 1972.

The last major work of the giant of the field. Martin P. Nilsson set himself the task of tracing the elements of Greekmythology, as they appear in Homer's Iliad, to their source in Mycenaean culture, a much earlier period. His conclusions, drawn from a very limited empirical material - archaeology, very few relevant Linear B texts - are remarkably compelling. This title is part of UC Press's Voices Revived program, which commemorates University of California Press's mission to seek out and cultivate the brightest minds and give them voice, reach, and impact. Drawing on a backlist dating to 1893, Voices Revived makes high-quality, peer-reviewed scholarship accessible once again using print-on-demand technology. This title was originally published in 1972.

This title is part of UC Press's Voices Revived program, which commemorates University of California Press's mission to seek out and cultivate the brightest minds and give them voice, reach, and impact. Drawing on a backlist dating to 1893, Voices Revived makes high-quality, peer-reviewed scholarship accessible once again using print-on-demand technology. This title was originally published in 1930.

Ranging widely over the fields of sculpture, vase painting, and the minor arts, this book provides a brilliant and original introduction to the art of archaic and classical Greece. By looking closely at the social and cultural contexts in which the rich diversity of Greek arts were produced, Robin Osborne shows how artistic developments were both a product of, and contributed to, the intensely competitive life of the Greek city.

The great 6th-century BCE Attic potter-painter Exekias is acclaimed as the most accomplished exponent of late 'black-figure' art. His vases, vessels, bowls and amphorae are reproduced on postcards and in other media all over the world. Despite his importance in the history of art and archaeology, little has been written about Exekias in his own right. Elizabeth Moignard, a leading historian of classical art, here corrects that neglect by addressing her subject as more than just a painter. She positions Exekias as a remarkable but nevertheless grounded and receptive man of his age, working in an Athens that was sensitive to Homeric literature and drawing on that great corpus of poetry to explore its own emerging concepts of honour, heroism, leadership and military tradition. Discussing a range of ceramic pieces, Moignard illustrates their impact and meaning, deconstructing iconic images like the suicide of Ajax; the voyage of Dionysus surrounded by dolphins; and the killing by Achilles of the Amazon queen Penthesilea. This book is the most complete introduction to its subject to be published in English.