This book explores what visitors saw at the Trojan exhibition and why its contents, including treasure, plain pottery and human remains captured imaginations and divided opinions. When Schliemann's Trojan collection was first exhibited in 1877, no-one had seen anything like it. Schliemann claimed these objects had been owned by participants in the Trojan War and that they were tangible evidence that Homer's epics were true. Yet, these objects did not reflect the heroic past imagined by Victorians, and a fierce controversy broke out about the collection's value and significance. Schliemann invited Londoners to see the very unclassical objects on display as the roots of classical culture. Artists, poets, historians, race theorists, bankers and humourists took up this challenge, but their conclusions were not always to Schliemann's liking. Troy's appeal lay in its materiality: visitors could apply analytical techniques (from aesthetic appreciation to skull-measuring) to the collection and draw their own conclusions. This book argues for a deep examination of museum exhibitions as a constructed spatial experience, which can transform how the past is seen. This new angle on a famous archaeological discovery shows the museum as a site of controversy, where hard evidence and wild imagination came together to form a lasting image of Troy.

In 2015, the Islamic State released a video of men smashing sculptures in Iraq's Mosul Museum as part of a mission to cleanse the world of idolatry. This book unpacks three key facets of that event: the status and power of images, the political importance of museums, and the efficacy of videos in furthering an ideological agenda through the internet. Beginning with the Islamic State's claim that the smashed objects were idols of the "age of ignorance," Aaron Tugendhaft questions whether there can be any political life without idolatry. He then explores the various roles Mesopotamian sculpture has played in European imperial competition, the development of artistic modernism, and the formation of Iraqi national identity, showing how this history reverberates in the choice of the Mosul Museum as performance stage. Finally, he compares the Islamic State's production of images to the ways in which images circulated in ancient Assyria and asks how digitization has transformed politics in the age of social media. An elegant and accessibly written introduction to the complexities of such events, The Idols of ISIS is ideal for students and readers seeking a richer cultural perspective than the media usually provides.

The phenomenon of iconoclasm, expressed through hostile actions towards images, has occurred in many different cultures throughout history. The destruction and mutilation of images is often motivated by a blend of political and religious ideas and beliefs, and the distinction between various kinds of 'iconoclasms' is not absolute. In order to explore further the long and varied history of iconoclasm the contributors to this volume consider iconoclastic reactions to various types of objects, both in the very recent and distant past. The majority focus on historical periods but also on history as a backdrop for image troubles of our own day. Development over time is a central question in the volume, and cross-cultural influences are also taken into consideration. This broad approach provides a useful comparative perspective both on earlier controversies over images and relevant issues today. In the multimedia era increased awareness of the possible consequences of the use of images is of utmost importance. 'Iconoclasm from Antiquity to Modernity' approaches some of the problems related to the display of particular kinds of images in conflicted societies and the power to decide on the use of visual means of expression. It provides a deeper understanding of the mechanisms of the phenomenon of iconoclasm. Of interest to a wide group of scholars the contributors draw upon various sources and disciplines, including art history, cultural history, religion and archaeology, as well as making use of recent research from within social and political sciences and contemporary events. Whilst the texts are addressed primarily to those researching the Western world, the volume contains material which will also be of interest to students of the Middle East.

This volume focuses on the reception of antiquity in the performing and visual arts from the Renaissance to the twenty-first century. It explores the tensions and relations of gender, sexuality, eroticism and power in reception. Such universal themes dictated plots and characters of myth and drama, but also served to portray historical figures, events and places from Classical history. Their changing reception and reinterpretation across time has created stereotypes, models of virtue or immoral conduct, that blend the original features from the ancient world with a diverse range of visual and performing arts of the modern era.The volume deconstructs these traditions and shows how arts of different periods interlink to form and transmit these images to modern audiences and viewers. Drawing on contributions from across Europe and the United States, a trademark of the book is the inclusive treatment of all the arts beyond the traditional limits of academic disciplines.

Using architecture, sculpture, culture and history, Adams humanizes the medieval period and provides valuable insight on religious philosophy. Mont-Saint Michel and Chartes provides a background and description of the construction of two French landmarks built in the 11th century. The Mont-Saint Michel cathedral was built during a militant time; it was not enough to simply be steadfast in one's own beliefs, but also to make others believe them. Religious conversion was a form of defense. Mont-Saint Michel was built in a period where faith was aggressive, almost violent, and to accommodate this, Mont-Saint Michel was built in honor of a warrior angel. In contrast, the Chartes cathedral, another French monument built in the Gothic period, was built as a shrine to Mary, the mother of God. Using Mary's image and inspiration, this church set a welcoming tone. While the cathedral of Mont-Saint Michel represents a more aggressive side of faith, the cathedral of Chartes is the embodiment of love and peace. In the same way that this contrast exists between the two cathedrals, a similar duality is present in the Christian faith. It is both a safe haven and a weapon wielded by the religious in order to conform others to their faith. Through descriptions and comparisons between Mont-Saint Michel and Chartes, Adams provides thoughtful reflection on both Christianity and the magnificent structures of the Gothic period. Mont-Saint Michel and Chartes by Henry Adamsis a subjective and personal view on history written in beautiful prose. With the stories behind two grand French cathedrals, Mont-Saint Michel and Chartes explore themes of Christianity, gender, and medieval culture with eloquent and enlightened discourse on history and the politics within Christianity. Now in a modern, readable font and new, striking cover design, Mont-Saint Michel and Chartes by the prolific American author and philosopher, Henry Adams provides meaningful meditation on the duality of religion and insight on the French Gothic period.

This book, first published in 1958, aims to describe Greek art and poetry within this ambiguous period of ancient history (often referred to as the Greek 'Dark Ages'), and to explore the possibilities of learning about Mycenaean civilisation from its own documents and not only from archaeology. Specifically, Webster utilises Michael Ventris' decipherment of Linear B in 1952 - which proved that Greek was spoken in the Mycenaean world - to determine the general contours of aesthetic development from Mycenae to the time of the written composition of the Homeric epics. Because they record Mycenaean civilisation in Mycenaean terminology, while Homer was writing in Ionian Greek at the beginning of the polis civilisation, they show how much in Homer is in fact Mycenaean. Further, where it is clear that these Mycenaean elements cannot have survived until Homer's time, they tell us something about the poetry which connected the two.

Originally published between 1920-70,The History of Civilization was a landmark in early twentieth century publishing. It was published at a formative time within the social sciences, and during a period of decisive historical discovery. The aim of the general editor, C.K. Ogden, was to summarize the most up to date findings and theories of historians, anthropologists, archaeologists and sociologists. This reprinted material is available as a set or in the following groupings: * Prehistory and Historical Ethnography Set of 12: 0-415-15611-4: GBP800.00 * Greek Civilization Set of 7: 0-415-15612-2: GBP450.00 * Roman Civilization Set of 6: 0-415-15613-0: GBP400.00 * Eastern Civilizations Set of 10: 0-415-15614-9: GBP650.00 * Judaeo-Christian Civilization Set of 4: 0-415-15615-7: GBP250.00 * European Civilization Set of 11: 0-415-15616-5: GBP700.00

Awakening intrinsic motivation in young people is the most important key to securing them a meaningful and successful life. No matter how much we know about how to learn, no lasting learning is likely to take place unless we want to learn; unless we are convinced of the reasons and have the confidence and resilience to achieve our goals. Motivating the Teenage Mind is a unique, comprehensive, practical, activity-based motivational programme for secondary students. It will give every student an opportunity to recognise their strengths, awaken their aspirations and become aware of the reasons for learning, and show them how to confidently create a vision for their future lives. The programme provides educators with seven key aspects of motivation: making and giving choices; awakening curiosity and interest; nurturing dreams and setting goals; making learning relevant; raising confidence; strengthening resilience; and rewarding achievement. Aimed primarily at 11-16 year old secondary pupils, this resource is also suitable for 16-18 year old college students.

Using archaeology and social anthropology, and more than 100 original line drawings and photographs, An Archaeology of Images takes a fresh look at how ancient images of both people and animals were used in the Iron Age and Roman societies of Europe, 600 BC to AD 400 and investigates the various meanings with which images may have been imbued. The book challenges the usual interpretation of statues, reliefs and figurines as passive things to be looked at or worshipped, and reveals them instead as active artefacts designed to be used, handled and broken. It is made clear that the placing of images in temples or graves may not have been the only episode in their biographies, and a single image may have gone through several existences before its working life was over. Miranda Aldhouse Green examines a wide range of other issues, from gender and identity to foreignness, enmity and captivity, as well as the significance of the materials used to make the images. The result is a comprehensive survey of the multifarious functions and experiences of images in the communities that produced and consumed them. Challenging many previously held assumptions about the meaning and significance of Celtic and Roman art, An Archaeology of Images will be controversial yet essential reading for anyone interested in this area.

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.

Images relating to imperial power were produced all over the Roman Empire at every social level, and even images created at the centre were constantly remade as they were reproduced, reappropriated, and reinterpreted across the empire. This book employs the language of social dynamics, drawn from economics, sociology, and psychology, to investigate how imperial imagery was embedded in local contexts. Patrons and artists often made use of the universal visual language of empire to navigate their own local hierarchies and relationships, rather than as part of direct communication with the central authorities, and these local interactions were vital in reinforcing this language. The chapters range from large-scale monuments adorned with sculpture and epigraphy to quotidian oil lamps and lead tokens and cover the entire empire from Hispania to Egypt, and from Augustus to the third century CE.

Is music just matter of hearing and producing notes? And is it of interest just to musicians? By exploring different authors and philosophical trends of the Roman Empire, from Philo of Alexandria to Alexander of Aphrodisias, from the rebirth of Platonism with Plutarch to the last Neoplatonists, this book sheds light on different ways in which music and musical notions were made a crucial part of philosophical discourse. Far from being mere metaphors, notions such as harmony, concord and attunement became key philosophical tools in order to better grasp and conceptualise fundamental notions in philosophical debates from cosmology to ethics and from epistemology to theology. The volume is written by a distinguished international team of contributors.

The ancient visual environment was packed with instances where words and images appeared side by side: statues with dedicatory inscriptions, labels on paintings or mosaics, or complex juxtapositions of images and engraved texts on funerary monuments. In the past these elements have often been divorced from one another and studied in isolation. In this volume art historians and epigraphers have come together to look at the complex ways in which images and words interacted with one another, illustrating, explaining or reinterpreting each other or, conversely, making competing demands upon the viewer. Their essays range widely in their focus from archaic Greek pottery through Hellenistic honorific statues and Pompeian wall-paintings to Late Roman mosaics. The insights that emerge contribute to our wider picture of the relationships between art and text in the ancient world, as well as illuminating the complexity and variety in ancient material culture.

This book is centered on the Venetian humanist Pietro Bembo (1470-1547), on his two-year stay in Sicily in 1492-4 to study the ancient Greek language under one of its most distinguished contemporary teachers, the Byzantine emigre Constantine Lascaris, and above all on his ascent of Mount Etna in 1493. The more particular focus of this study is on the imaginative capacities that crucially shape Bembo's elegantly crafted account, in Latin, of his Etna adventure in his so-called De Aetna, published at the Aldine press in Venice in 1496. This work is cast in the form of a dialogue that takes place between the young Bembo and his father Bernardo (himself a prominent Venetian statesman with strong humanist involvements) after Pietro's return to Venice from Sicily in 1494. But De Aetna offers much more than a one-dimensional account of the facts, sights and findings of Pietro's climb. Far more important in the present study is his eye for creative elaboration, or for transforming his literal experience on the mountain into a meditation on his coming-of-age at a remove from the conventional career-path expected of one of his station within the Venetian patriciate. Three mutually informing features that are critical to the artistic originality of De Aetna receive detailed treatment in this study: (i) the stimulus that Pietro drew from the complex history of Mount Etna as treated in the Greco-Roman literary tradition from Pindar onwards; (ii) the striking novelty of De Aetna's status as the first Latin text produced at the nascent Aldine press in the prototype of what modern typography knows as Bembo typeface; and (iii) Pietro's ingenious deployment of Etna as a powerful, multivalent symbol that simultaneously reflects the diverse characterizations of, and the generational differences between, father and son in the course of their dialogical exchanges within De Aetna.

Artifacts from the Ancient Silk Road explores the interconnectivity of the Eurasian continent from 4000 BCE to 1000 CE. It focuses on the role played by Central Asia through which passed the major trade routes, the Silk Roads. Artifacts from the Ancient Silk Road covers life along the Silk Road over 5000 years as it can be understood by considering objects. In this first object-based study to consider all of the peoples involved on the Silk Roads, objects provide the vehicles for explorations of different aspects of life for the various peoples of the Silk Roads, including the sedentary peoples who established urban life on the Silk Roads, the steppe nomads who regularly interacted with the settled peoples, and the peoples at either end of the Silk Roads who drove certain kinds of economic exchanges. The book looks at Central Asia as an international zone during ancient times when multiple religious, political, and technological ideas found acceptance in the region and allows for a better understanding of how some ideas and forms developed in Central Asia while others passed through or were modified. Places important objects and artifacts within the context of the history of the Silk Road Provides readers with guidance on how to assess and analyze artifacts Offers an innovative way for readers to learn about history through material culture Enables fuller historical understanding by clarifying how the meanings of artifacts are created through the interactions of objects and people and how these meanings change over time

"Probing, jargon-free and written with the pace of a detective story... [Procter] dissects western museum culture with such forensic fury that it might be difficult for the reader ever to view those institutions in the same way again. " Financial Times 'A smart, accessible and brilliantly structured work that encourages readers to go beyond the grand architecture of cultural institutions and see the problematic colonial histories behind them.' - Sumaya Kassim Should museums be made to give back their marbles? Is it even possible to 'decolonize' our galleries? Must Rhodes fall? How to deal with the colonial history of art in museums and monuments in the public realm is a thorny issue that we are only just beginning to address. Alice Procter, creator of the Uncomfortable Art Tours, provides a manual for deconstructing everything you thought you knew about art history and tells the stories that have been left out of the canon. The book is divided into four chronological sections, named after four different kinds of art space: The Palace, The Classroom, The Memorial and The Playground. Each section tackles the fascinating, enlightening and often shocking stories of a selection of art pieces, including the propaganda painting the East India Company used to justify its rule in India; the tattooed Maori skulls collected as 'art objects' by Europeans; and works by contemporary artists who are taking on colonial history in their work and activism today. The Whole Picture is a much-needed provocation to look more critically at the accepted narratives about art, and rethink and disrupt the way we interact with the museums and galleries that display it.

In Isis in a Global Empire, Lindsey Mazurek explores the growing popularity of Egyptian gods and its impact on Greek identity in the Roman Empire. Bringing together archaeological, art historical, and textual evidence, she demonstrates how the diverse devotees of gods such as Isis and Sarapis considered Greek ethnicity in ways that differed significantly from those of the Greek male elites whose opinions have long shaped our understanding of Roman Greece. These ideas were expressed in various ways - sculptures of Egyptian deities rendered in a Greek style, hymns to Isis that grounded her in Greek geography and mythology, funerary portraits that depicted devotees dressed as Isis, and sanctuaries that used natural and artistic features to evoke stereotypes of the Nile. Mazurek's volume offers a fresh, material history of ancient globalization, one that highlights the role that religion played in the self-identification of provincial Romans and their place in the Mediterranean world.

Many tombs dating to the Eastern Zhou (770-221 BCE) and Han (206 BCE-220 AD) periods contain musical instruments or their visual representations in the form of wood, stone, and ceramic figures, tomb tiles, and engravings. These finds suggest that music was viewed as an important part of the afterlife. While bells have survived more frequently than wooden instruments, and therefore have received the most scholarly attention, strings, winds, and drums are the focus of discussion in this book. The book examines the use of these three instrument types in both solo and ensemble music, as well as the social, ritual, and entertainment functions of each. When combined with bells (and chime stones), strings, drums, and winds appear to have been associated with formal ritual ceremonies. However, when appearing alone or in assemblages with other wooden instruments during Zhou, they appear to be connected with warfare and entertainment. By Han times, strings, winds, and drums seem to be associated almost exclusively with entertainment, pointing to a shift in the social life of the times. Another topic explored in this book is the association of musical instruments with wealth. When combined with bells and chime stones, they are only found in the wealthiest tombs. However, when found by themselves, strings, winds, and drums appear in small to large, modest to wealthy tombs, suggesting that they were available to a broad range of peoples in early Chinese elite society. This book analyzes an often disregarded aspect of early Chinese music, the role of strings, winds, and drums. Music in Ancient China will be a valuable book for those interested in ethnomusicology and music history, Asian art history and archaeology, and Asian studies.

The book tells the story of how the British consular service in the Aegean, in the years of the British protectorate of the Ionian Islands (1815-1864) became an agency for the retrieval, excavation and collection of antiquities eventually destined for the British Museum. Exploring the historical, political and diplomatic circumstances that allowed the consular service to develop from a chartered company into a state run institution under the direction of the Foreign Office, it provides a unique perspective on the intersection of state policy, private ambition, and the collecting of antiquities. Drawing extensively on consular correspondence, the study sets out several challenges to current views. For those interested in the history of travel in the Levant, or more generally in the Grand Tour, the book presents an alternative point of view that challenges the travellers' descriptions of the region. The book also intersects with British diplomatic history, providing an insight into the consuls in both their official and private circumstances, and comparing their situation under the Levant Company with that of the Foreign Office run consular service. The complex political situation in the Aegean at the time of the take over of the service is examined along with the political and commercial roles of the consuls, their daily dealings with the Greeks and Ionians, and also with the Ottoman authorities. Through private correspondence, it shows how the consuls' reflected the belief that Greek, Egyptian, Babylonian, Roman and other antiquities would be better looked after in a British, French, German or American museum, than by the people, and in the countries, they were created for. In particular, the book illuminates the public/private nature of the consuls' role, the way they worked with, but independently of, government, and it reveals how Britain was able to acquire major pieces of sculpture from the nineteenth century Aegean.

This unique book provides the student of Roman history with an accessible and detailed introduction to Roman and provincial coinage in the late Republic and early Empire in the context of current historical themes and debates. Almost two hundred different coins are illustrated at double life size, with each described in detail, and technical Latin and numismatic terms are explained. Chapters are arranged chronologically, allowing students to quickly identify material relevant to Julius Caesar, the second triumvirate, the relationship between Antony and Cleopatra, and the Principate of Augustus. Iconography, archaeological contexts, and the economy are clearly presented. A diverse array of material is brought together in a single volume to challenge and enhance our understanding of the transition from Republic to Empire.

The phenomenon of iconoclasm, expressed through hostile actions towards images, has occurred in many different cultures throughout history. The destruction and mutilation of images is often motivated by a blend of political and religious ideas and beliefs, and the distinction between various kinds of 'iconoclasms' is not absolute. In order to explore further the long and varied history of iconoclasm the contributors to this volume consider iconoclastic reactions to various types of objects, both in the very recent and distant past. The majority focus on historical periods but also on history as a backdrop for image troubles of our own day. Development over time is a central question in the volume, and cross-cultural influences are also taken into consideration. This broad approach provides a useful comparative perspective both on earlier controversies over images and relevant issues today. In the multimedia era increased awareness of the possible consequences of the use of images is of utmost importance. 'Iconoclasm from Antiquity to Modernity' approaches some of the problems related to the display of particular kinds of images in conflicted societies and the power to decide on the use of visual means of expression. It provides a deeper understanding of the mechanisms of the phenomenon of iconoclasm. Of interest to a wide group of scholars the contributors draw upon various sources and disciplines, including art history, cultural history, religion and archaeology, as well as making use of recent research from within social and political sciences and contemporary events. Whilst the texts are addressed primarily to those researching the Western world, the volume contains material which will also be of interest to students of the Middle East.

Rewritten from cover to cover and updated to include the discoveries and new theories from the past decade and a half, this classic guide to the art of the ancient Maya is now illustrated in full colour throughout. World expert Mary Miller and her co-author Megan O'Neil take the reader through the visual world of the Maya, explaining how and why they created the paintings, sculpture and monuments that intrigue and compel people the world over. With an array of new material, from recent finds including the La Corona panels, to new studies of the monuments at Palenque, Zotz and elsewhere, to the beautiful wall paintings discovered in recent years, this new edition will be essential reading for students and scholars - and for travellers to the cities of this mysterious civilization.

Classicists have long wondered what everyday life was like in ancient Greece and Rome. How, for example, did the slaves, visitors, inhabitants or owners experience the same home differently? And how did owners manipulate the spaces of their homes to demonstrate control or social hierarchy? To answer these questions, Hannah Platts draws on a diverse range of evidence and an innovative amalgamation of methodological approaches to explore multisensory experience - auditory, olfactory, tactile, gustatory and visual - in domestic environments in Rome, Pompeii and Herculaneum for the first time, from the first century BCE to the second century CE. Moving between social registers and locations, from non-elite urban dwellings to lavish country villas, each chapter takes the reader through a different type of room and offers insights into the reasons, emotions and cultural factors behind perception, recording and control of bodily senses in the home, as well as their sociological implications. Multisensory Living in Ancient Rome will appeal to all students and researchers interested in Roman daily life and domestic architecture.