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Cave and Worship in Ancient Greece brings together a series of
stimulating chapters contributing to the archaeology and our modern
understanding of the character and importance of cave sanctuaries
in the fi rst millennium BCE Mediterranean. Written by emerging and
established archaeologists and researchers, the book employs a
fascinating and wide range of approaches and methodologies to
investigate, and interpret material assemblages from cave shrines,
many of which are introduced here for the fi rst time. An
introductory section explores the emergence and growth of caves as
centres of cult and religion. The chapters then probe some of the
meanings attached to cave spaces and votive materials such as
terracotta fi gurines, and ceramics, and those who created and used
them. The authors use sensory and gender approaches, discuss the
identity of the worshippers, and the contribution of statistical
analysis to the role of votive materials. At the heart of the
volume is the examination of cave materials excavated on the
Cycladic islands and Crete, in Attika and Aitoloakarnania, on the
Ionian islands and in southern Italy. This is a welcome volume for
students of prehistoric and classical archaeology,enthusiasts of
the history of caves, religion, ancient history, and anthropology.
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Amerasia (Hardcover)
Elizabeth Horodowich, Alexander Nagel
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R1,085
R881
Discovery Miles 8 810
Save R204 (19%)
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Ships in 10 - 15 working days
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Cave and Worship in Ancient Greece brings together a series of
stimulating chapters contributing to the archaeology and our modern
understanding of the character and importance of cave sanctuaries
in the fi rst millennium BCE Mediterranean. Written by emerging and
established archaeologists and researchers, the book employs a
fascinating and wide range of approaches and methodologies to
investigate, and interpret material assemblages from cave shrines,
many of which are introduced here for the fi rst time. An
introductory section explores the emergence and growth of caves as
centres of cult and religion. The chapters then probe some of the
meanings attached to cave spaces and votive materials such as
terracotta fi gurines, and ceramics, and those who created and used
them. The authors use sensory and gender approaches, discuss the
identity of the worshippers, and the contribution of statistical
analysis to the role of votive materials. At the heart of the
volume is the examination of cave materials excavated on the
Cycladic islands and Crete, in Attika and Aitoloakarnania, on the
Ionian islands and in southern Italy. This is a welcome volume for
students of prehistoric and classical archaeology,enthusiasts of
the history of caves, religion, ancient history, and anthropology.
The studies in this volume focus on works of art that generate
bafflement, and that make that difficulty of reading part of their
rhetorical structure. These are works whose subjects are not easily
identifiable or can be readily associated with more than one
subject at the same time; works that take a subject into a new
genre or format (pagan into Christian, for example, or vice versa),
and thus destabilize the subject itself; works that concentrate on
the marginal rather than the central episode; and works that
introduce elements of the preparatory phase-the indeterminacy that
are native to the sketch or drawing, for example-into the realm of
finished works. Unable to settle on a single reading, the effort of
interpretation doubles back on its own procedures. This aporia,
according to Aristotle, serves as the initial impulse to
philosophical inquiry. Although the works studied here are in many
ways exceptional, the aporias they raise register larger structural
problems belonging to the artistic culture as a whole. Between 1400
and 1700, we see the emergence of new formats, new genres, new
subjects, and new techniques, as well as new venues for the display
of art. It is an implicit thesis of this book that the systemic
shifts occurring in the early modern period made the emergence of
aporetic works of art, and of aporia as a problem for art, a
structural inevitability.
This groundbreaking study explores the deep connections between
modern and premodern art, offering a radical reading that reveals
the underlying patterns and ideas traversing centuries of artistic
practice. Nagel reconsiders from an innovative double perspective
some key issues in the history of art, from iconoclasm and
illusionism to the status of painting, installation, and the museum
as institution. He examines, among other topics, why the medieval
workshop was of such importance to the Bauhaus; how the 4th-century
Jerusalem Chapel in Rome was a proto-earthwork akin to the projects
of Robert Smithson; and the relationship between medieval relics
and Duchamp's readymades. Alongside an analysis of 20th-century
medievalist theorists such as Brecht, Joyce and Eco, Nagel
considers a wide range of celebrated artists. This is a radical new
reading of art that will profoundly broaden our understanding of
both premodern practices and the art of the 20th and 21st
centuries.
In this volume, Alexander Nagel investigates the use of polychromy
in the art and architecture of ancient Iran. Focusing on
Persepolis, he explores the topic within the context of the modern
historiography of Achaemenid art and the scientific investigation
of a range of works and monuments in Iran and in museums around the
world. Nagel's study contextualizes scholarly efforts to retrieve
aspects of ancient polychromies in Western Asia and interrogates
current debates about the contemporary use of color in the
architecture and sculpture in the ancient Mediterranean world,
especially in North Africa and the eastern Mediterranean. Bringing
a multi-disciplinary perspective to the topic, Nagel also
highlights the important role of theory, methodology, and
conservation studies in the process of reconstructing polychromy in
ancient monuments. A celebration of the work of painters, artisans,
craftsmen and -women of Iran's past, his volume suggests frameworks
through which historical and contemporary research play a dynamic
role in the reconstruction of ancient technological knowledge.
A reconsideration of the problem of time in the Renaissance,
examining the complex and layered temporalities of Renaissance
images and artifacts. In this widely anticipated book, two leading
contemporary art historians offer a subtle and profound
reconsideration of the problem of time in the Renaissance.
Alexander Nagel and Christopher Wood examine the meanings, uses,
and effects of chronologies, models of temporality, and notions of
originality and repetition in Renaissance images and artifacts.
Anachronic Renaissance reveals a web of paths traveled by works and
artists-a landscape obscured by art history's disciplinary
compulsion to anchor its data securely in time. The buildings,
paintings, drawings, prints, sculptures, and medals discussed were
shaped by concerns about authenticity, about reference to
prestigious origins and precedents, and about the implications of
transposition from one medium to another. Byzantine icons taken to
be Early Christian antiquities, the acheiropoieton (or "image made
without hands"), the activities of spoliation and citation,
differing approaches to art restoration, legends about movable
buildings, and forgeries and pastiches: all of these emerge as
basic conceptual structures of Renaissance art. Although a work of
art does bear witness to the moment of its fabrication, Nagel and
Wood argue that it is equally important to understand its temporal
instability: how it points away from that moment, backward to a
remote ancestral origin, to a prior artifact or image, even to an
origin outside of time, in divinity. This book is not the story
about the Renaissance, nor is it just a story. It imagines the
infrastructure of many possible stories.
Many studies have shown that images--their presence in the daily
lives of the faithful, the means used to control them, and their
adaptation to secular uses--were at the heart of the Reformation
crisis in northern Europe. But the question as it affects the art
of Italy has been raised only in highly specialized studies.
In this book, Alexander Nagel provides the first truly synthetic
study of the controversies over religious images that pervaded
Italian life both before and parallel to the Reformation north of
the Alps. Tracing the intertwined relationship of artistic
innovation and archaism, as well as the new pressures placed on the
artistic media in the midst of key developments in religious
iconography, "The Controversy of Renaissance Art "offers an
important and original history of humanist thought and artistic
experimentation from one of our most acclaimed historians of
art.
A global reconsideration and broadening of the definition of art
conservation through the lenses of theory, ethics, culture, and
history Thought-provoking and timely, this volume challenges
inherited thinking on art conservation practice and purposefully
reconsiders the definition of the field. Scholars from around the
world discuss topics including the conservation of global painting
practices, cold storage and digitization, conservation within
institutions, and the decolonization of art conservation. The
authors seek to broaden the scope of conservation practice and
challenge the boundaries that set it apart from art history and art
making. They thoughtfully consider the implications of conservation
beyond museum walls. This volume in the esteemed Clark Studies in
the Visual Arts maintains the series’s tradition of providing a
nuanced reckoning with vital themes in the field. Distributed for
the Clark Art Institute
The theory of pseudo-differential operators (which originated as
singular integral operators) was largely influenced by its
application to function theory in one complex variable and
regularity properties of solutions of elliptic partial differential
equations. Given here is an exposition of some new classes of
pseudo-differential operators relevant to several complex variables
and certain non-elliptic problems. Originally published in 1979.
The Princeton Legacy Library uses the latest print-on-demand
technology to again make available previously out-of-print books
from the distinguished backlist of Princeton University Press.
These editions preserve the original texts of these important books
while presenting them in durable paperback and hardcover editions.
The goal of the Princeton Legacy Library is to vastly increase
access to the rich scholarly heritage found in the thousands of
books published by Princeton University Press since its founding in
1905.
The theory of pseudo-differential operators (which originated as
singular integral operators) was largely influenced by its
application to function theory in one complex variable and
regularity properties of solutions of elliptic partial differential
equations. Given here is an exposition of some new classes of
pseudo-differential operators relevant to several complex variables
and certain non-elliptic problems. Originally published in 1979.
The Princeton Legacy Library uses the latest print-on-demand
technology to again make available previously out-of-print books
from the distinguished backlist of Princeton University Press.
These editions preserve the original texts of these important books
while presenting them in durable paperback and hardcover editions.
The goal of the Princeton Legacy Library is to vastly increase
access to the rich scholarly heritage found in the thousands of
books published by Princeton University Press since its founding in
1905.
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