The frames of classical art are often seen as marginal to the images that they surround. Traditional art history has tended to view framing devices as supplementary 'ornaments'. Likewise, classical archaeologists have often treated them as tools for taxonomic analysis. This book not only argues for the integral role of framing within Graeco-Roman art, but also explores the relationship between the frames of classical antiquity and those of more modern art and aesthetics. Contributors combine close formal analysis with more theoretical approaches: chapters examine framing devices across multiple media (including vase and fresco painting, relief and free-standing sculpture, mosaics, manuscripts and inscriptions), structuring analysis around the themes of 'framing pictorial space', 'framing bodies', 'framing the sacred' and 'framing texts'. The result is a new cultural history of framing - one that probes the sophisticated and playful ways in which frames could support, delimit, shape and even interrogate the images contained within.

It is to Greek critical thinking about seeing that we owe our conceptual framework for theorizing the senses, and it is also to such thinking that we owe the lasting legacy of Greco-Roman imagery. Sight and the Ancient Senses is the first thorough introduction to the conceptualization of sight in the history, visual culture, literature and philosophy of classical antiquity. Examining how the Greeks and Romans interpreted what they saw, the collection also considers sight in relation to the other senses. This volume brings together a number of interdisciplinary perspectives to deliver a broad and balanced coverage of this subject. Contributors explore the cultural, social and intellectual backdrops that gave rise to ancient theories of seeing, from Archaic Greece through to the advent of Christianity in late antiquity. This series of specially commissioned thematic chapters demonstrate how theories about sight informed Graeco-Roman philosophy, science, poetry rhetoric and art. The collection also reaches beyond its Graeco-Roman visual framework, showcasing how ancient ideas have influenced the longue duree of western sensory thinking. Richly illustrated throughout, including a section of color plates, Sight and the Ancient Senses is a wide-ranging introduction to ancient theories of seeing which will be an invaluable resource for students and scholars of classical antiquity.

It is to Greek critical thinking about seeing that we owe our conceptual framework for theorizing the senses, and it is also to such thinking that we owe the lasting legacy of Greco-Roman imagery. Sight and the Ancient Senses is the first thorough introduction to the conceptualization of sight in the history, visual culture, literature and philosophy of classical antiquity. Examining how the Greeks and Romans interpreted what they saw, the collection also considers sight in relation to the other senses. This volume brings together a number of interdisciplinary perspectives to deliver a broad and balanced coverage of this subject. Contributors explore the cultural, social and intellectual backdrops that gave rise to ancient theories of seeing, from Archaic Greece through to the advent of Christianity in late antiquity. This series of specially commissioned thematic chapters demonstrate how theories about sight informed Graeco-Roman philosophy, science, poetry rhetoric and art. The collection also reaches beyond its Graeco-Roman visual framework, showcasing how ancient ideas have influenced the longue duree of western sensory thinking. Richly illustrated throughout, including a section of color plates, Sight and the Ancient Senses is a wide-ranging introduction to ancient theories of seeing which will be an invaluable resource for students and scholars of classical antiquity.

The relation between the visual and the verbal spheres has been much contested in recent years, from laments about the 'logocentricism' of the academy to the heralding of the 'pictorial turn' of the multimedia age. This lavishly illustrated book recontextualises these debates through the historical lens of Greek and Roman antiquity. Dr Squire shows how modern Western concepts of 'words' and 'pictures' derive from a post-Reformation tradition of theology and aesthetics. Where modern critics assume a bipartite separation between images and texts, classical antiquity toyed with a more playful and engaged relation between the two. By using the ancient world to rethink our own ideologies of the visual and the verbal, this interdisciplinary book brings together classics and art history, as well as a sustained reflection on their historiography: the result is a new and explosive cultural history of Western visual thinking.

The art of the human body is arguably the most important and wide-ranging legacy bequeathed to us by Classical antiquity. Not only has it directed the course of western image-making, it has shaped our collective cultural imaginary - as ideal, antitype, and point of departure. This book is the first concerted attempt to grapple with that legacy: it explores the complex relationship between Graeco-Roman images of the body and subsequent western engagements with them, from the Byzantine icon to Venice Beach (and back again). Instead of approaching his material chronologically, Michael Squire faces up to its inherent modernity. Writing in a lively and accessible style, and supplementing his text with a rich array of pictures, he shows how Graeco-Roman images inhabit our world as if they were our own. The Art of the Body offers a series of comparative and thematic accounts, demonstrating the range of cultural ideas and anxieties that were explored through the figure of the body both in antiquity and in the various cultural landscapes that came afterwards. If we only strip down our aesthetic investment in the corpus of Graeco-Roman imagery, Squire argues, this material can shed light on both ancient and modern thinking. The result is a stimulating process of mutual illumination - and an exhilarating new approach to Classical art history.

The frames of classical art are often seen as marginal to the images that they surround. Traditional art history has tended to view framing devices as supplementary 'ornaments'. Likewise, classical archaeologists have often treated them as tools for taxonomic analysis. This book not only argues for the integral role of framing within Graeco-Roman art, but also explores the relationship between the frames of classical antiquity and those of more modern art and aesthetics. Contributors combine close formal analysis with more theoretical approaches: chapters examine framing devices across multiple media (including vase and fresco painting, relief and free-standing sculpture, mosaics, manuscripts and inscriptions), structuring analysis around the themes of 'framing pictorial space', 'framing bodies', 'framing the sacred' and 'framing texts'. The result is a new cultural history of framing - one that probes the sophisticated and playful ways in which frames could support, delimit, shape and even interrogate the images contained within.

Banned and vindicated, condemned and lauded, Lady Chatterley's Lover is D.H. Lawrence's seminal novel of illicit passion and forbidden desire. Lady Constance Chatterley feels trapped in her sexless marriage to the Sir Clifford. Paralysed in the First World War, Sir Clifford is unable to fulfil his wife emotionally or physically, and encourages her instead to have a liaison with a man of their own class. But Connie is attracted instead to Oliver Mellors, her husband's gamekeeper, with whom she embarks on a passionate affair that brings new life to her stifled existence. Can she find true love with Mellors, despite the vast gulf between their positions in society? One of the most controversial novels in English literature, Lady Chatterley's Lover is an erotically charged and psychologically powerful depiction of adult relationships. In her introduction Doris Lessing discusses the influence of Lawrence's sexual politics, his relationship with his wife Frieda and his attitude towards the First World War. Using the complete and restored text of the Cambridge edition, this volume includes a new chronology and further reading by Paul Poplawski and notes by Michael Squires. Edited with notes by Michael Squires and an introduction by Doris Lessing. 'A brave and important book, passionate and wildly ambitious' Independent on Sunday 'A masterpiece' Guardian

The relation between the visual and the verbal spheres has been much contested in recent years, from laments about the 'logocentricism' of the academy to the heralding of the 'pictorial turn' of the multimedia age. This lavishly illustrated book recontextualises these debates through the historical lens of Greek and Roman antiquity. Dr Squire shows how modern Western concepts of 'words' and 'pictures' derive from a post-Reformation tradition of theology and aesthetics. Where modern critics assume a bipartite separation between images and texts, classical antiquity toyed with a more playful and engaged relation between the two. By using the ancient world to rethink our own ideologies of the visual and the verbal, this interdisciplinary book brings together classics and art history, as well as a sustained reflection on their historiography: the result is a new and explosive cultural history of Western visual thinking.

Part of Penguin's beautiful hardback Clothbound Classics series, designed by the award-winning Coralie Bickford-Smith, these delectable and collectible editions are bound in high-quality colourful, tactile cloth with foil stamped into the design. Constance Chatterley feels trapped in her sexless marriage to the invalid Sir Clifford. Unable to fulfil his wife emotionally or physically, Clifford encourages her to have a liaison with a man of their own class. But Connie is attracted instead to her husband's gamekeeper and embarks on a passionate affair that brings new life to her stifled existence. Can she find a true equality with Mellors, despite the vast gulf between their positions in society? One of the most controversial novels in English literature, Lady Chatterley's Lover is an erotically charged and psychologically powerful depiction of adult relationships.

The Tabulae Iliacae (Iliac tablets) are a collection of twenty-two miniature marble reliefs from the early Roman Empire; all of them are inscribed in Greek, and most depict the panoramic vistas of Greek Epic. This book brings the tablets to life as never before, revealing the unassuming fragments as among the most sophisticated objects to survive from the ancient Mediterranean world. The Iliad in a Nutshell is not only the first monograph on this material in English (accompanied by a host of new photographs, diagrams, and reconstructions), it also examines the larger cultural and intellectual stakes-both in classical antiquity and beyond. Where modern scholars have usually dismissed the Tabulae Iliacae as secondary 'illustrations' and 'tawdry gewgaws', Michael Squire advances a diametrically opposite thesis: that these epigrammatic tablets synthesize ancient ideas about visual-verbal interaction on the one-hand, and about the art and poetics of scale on the other. By reassessing the artistic and poetic aesthetics of the miniature, Squire's radical new appraisal shows how the tiny tablets encapsulate antiquity's grandest theories of originality, fiction, and replication. The book will be essential reading not just for classical philologists, art historians, and archaeologists, but for anyone interested in the intellectual history of western representation.

The Cambridge edition of Lady Chatterley's Lover (and A Propos of 'Lady Chatterley's Lover') is the first ever to restore to Lawrence's most famous novel the words that he wrote. It removes typists' corruptions and compositors' errors, which have marred the text for over sixty years, and includes hundreds of new words, phrases and sentences - and thousands of changes in punctuation. This text projects the sound of Lawrence's voice, embodies the precision of his mature style and reveals the force of his rhetorical power. The introduction establishes an accurate history of composition, typing, printing, publication and reception; the notes freshly identify dozens of difficult allusions; and the appendix, an original essay, explains how Lawrence imaginatively weaves real places and people into the fictional tapestry that he creates. For students and scholars alike, the Cambridge text is the only text of the novel that can be read or quoted with confidence.

In these impressions of the Italian countryside, Lawrence transforms ordinary incidents into passages of intense beauty. Twilight in Italy is a vibrant account of Lawrence's stay among the people of Lake Garda, whose decaying lemon gardens bear witness to the twilight of a way of life centuries old. In Sea and Sardina, Lawrence brings to life the vigorous spontaneity of a society as yet untouched by the deadening effect of industrialization. And Etruscan Places is a beautiful and delicate work of literary art, the record of "a dying man drinking from the founts of a civilization dedicated to life."

Thirteen essays that aim to illuminate the achievement of one of England's greatest modern writers. Employing a variety of perspectives - historical, cultural, theoretical, feminist - the critics here assembled address concerns about Lawrence's work that have emerged in recent years: his attitudes toward the working class, art, women, Britain; his conceptions of male-female relationships, sexuality, education and knowledge; and his place in cultural history and the traditions of the English novel. All of the essays - from reassessments of Lawrence's position in the English literary tradition to analyses of his influence on recent American poetry - find renewed faith in the challenge of Lawrence's work, making this volume of interest to Lawrence scholars and students.

In 1996, an unpublished author wrote about terrorists crashing commercial aircraft into military facilities and public buildings. Most pundits viewed the work as far fetched. Now we are not so sure. "Michael did his research and found weaknesses in our way of life that terrorists could exploit against our free society," explained a literary critic who has read the pre-published version.

With her soft brown hair, lithe figure and big, wondering eyes, Constance Chatterley is possessed of a certain vitality. Yet she is deeply unhappy, married to a physical and emotional cripple, and embarks on an affair with Mellors, the gamekeeper.

Dashingly told and meticulously researched, this double biography of D. H. Lawrence and his wife Frieda von Richthofen is the first to draw fully on Frieda's unpublished letters and on interviews with people who knew her well. It explores their collision with an industrial world they hated and chronicles the stormy relationship between husband and wife. The strong sexual vitality that inspired Lawrence's art brought both joy and anguish to his marriage. Here, the Lawrences emerge as proud but not conceited in their unconventional lives, staunch in the face of fierce opposition from a conformist society.
"Living at the Edge" follows the separate lives of Lawrence and Frieda up to their first meeting in 1912. Tracing their new life together, it depicts their grateful escape from the English Midlands; their discovery of exotic places where they made temporary homes--Italy, Cornwall, Australia, New Mexico, and Mexico; Lawrence's courageous battle against illness; and, after his death in 1930, Frieda's success in recreating the simple life on ranches near Taos, New Mexico, where she died in 1956.
At the center of their story is Lawrence's literary career. Biographers Squires and Talbot see Lawrence's major novels--"The Rainbow, Women in Love, Lady Chatterley's Lover"--as a fresh way to understand his turbulent and conflicted life. They reveal the extreme care with which he rewrote his personal experience to satisfy his deepest needs, and they introduce the many influential people who entered the Lawrences' lives and work. The rich materials from Frieda's letters reveal a different Lawrence--more difficult as a man but more interesting as an artist; they also reveal a different Frieda--more vibrant as a woman, more substantial as a companion. This superb biography gives both Lawrence and Frieda striking new dimensions.

The Etruscan civilisation, which flourished from the 8th until the 5th century BC in what is now Tuscany, is one of the most fascinating and mysterious in history. An uninhibited, elemental people, the Etruscans enthralled D.H. Lawrence, who craved their 'old wisdom', the secret of their vivacity and love of life. To him they represented the antithesis of everything he despised in the modern world, perhaps because their spontaneity and naturalness struck a chord with his own quest for personal and artistic freedom - so often censured or repressed. Lawrence approaches the enigmatic Etruscans as a poet, passionately and searchingly, and so the reader is swept up in his luminous descriptions of a utopian world where dancing and feasting, art and music were everything. The exhilaration of Lawrence in his Etruscan adventures stands in stark contrast to his intimations of the darkness of Mussolini's Italy - at a time when Europe was beginning its inexorable drift towards tragedy. The last of Lawrence's travel books, Etruscan Places is an ephemeral and vivid account, replete with hauntingly evocative descriptions of the way of life of this once great civilisation.

The art of the human body is arguably the most important and wide-ranging legacy bequeathed to us by Classical antiquity. Not only has it directed the course of western image-making, it has shaped our collective cultural imaginary - as ideal, antitype, and point of departure. This book is the first concerted attempt to grapple with that legacy: it explores the complex relationship between Graeco-Roman images of the body and subsequent western engagements with them, from the Byzantine icon to Venice Beach (and back again). Instead of approaching his material chronologically, Michael Squire faces up to its inherent modernity. Writing in a lively and accessible style, and supplementing his text with a rich array of pictures, he shows how Graeco-Roman images inhabit our world as if they were our own. The Art of the Body offers a series of comparative and thematic accounts, demonstrating the range of cultural ideas and anxieties that were explored through the figure of the body both in antiquity and in the various cultural landscapes that came afterwards. If we only strip down our aesthetic investment in the corpus of Graeco-Roman imagery, Squire argues, this material can shed light on both ancient and modern thinking. The result is a stimulating process of mutual illumination - and an exhilarating new approach to Classical art history.