The archeological and source-critical research of ancient history
in the 19th century confronted its aesthetic realization with a
general problem: literary and visual art imaginations cannot ignore
the scientific findings yet the fragmentary evidence of the past
can only be given a voice by means of aesthetic forms of
organization. Whereas it is not unusual for poetic and visual art
works to become storage media for archeological knowledge, the
historiographical conveyance of Antiquity often feeds on the
strategies of representation specific to literature and painting.
General
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