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In Juvenal's Global Awareness Osman Umurhan applies theories of
globalization to an investigation of Juvenal's articulation and
understanding of empire, imperialism and identity. Umurhan explains
how the increased interconnectivity between different localities,
ethnic and political, shapes Juvenal's view of Rome as in constant
flux and motion. Theoretical and sociological notions of
deterritorialization, time-space compression and the rhizome inform
the satirist's language of mobility and his construction of space
and place within second century Rome and its empire. The
circulation of people, goods and ideas generated by processes of
globalization facilitates Juvenal's negotiation of threats and
changes to Roman institutions that include a wide array of topics,
from representatios of the army and food to discussions of
cannibalism and language. Umurhan's analysis stresses that
Juvenalian satire itself is a rhizome in both function and form.
This study is designed for audiences interested in Juvenal, empire
and globalization under Rome.
In Juvenal's Global Awareness Osman Umurhan applies theories of
globalization to an investigation of Juvenal's articulation and
understanding of empire, imperialism and identity. Umurhan explains
how the increased interconnectivity between different localities,
ethnic and political, shapes Juvenal's view of Rome as in constant
flux and motion. Theoretical and sociological notions of
deterritorialization, time-space compression and the rhizome inform
the satirist's language of mobility and his construction of space
and place within second century Rome and its empire. The
circulation of people, goods and ideas generated by processes of
globalization facilitates Juvenal's negotiation of threats and
changes to Roman institutions that include a wide array of topics,
from representatios of the army and food to discussions of
cannibalism and language. Umurhan's analysis stresses that
Juvenalian satire itself is a rhizome in both function and form.
This study is designed for audiences interested in Juvenal, empire
and globalization under Rome.
This book demonstrates the rich and varied ways in which heavy
metal music draws on the ancient Greek and Roman world.
Contributors examine bands from across the globe, including: Blind
Guardian (Germany), Therion (Sweden), Celtic Frost, Eluveitie
(Switzerland), Ex Deo (Canada/Italy), Heimdall, Stormlord, Ade
(Italy), Kawir (Greece), Theatre of Tragedy (Norway), Iron Maiden,
Bal-Sagoth (UK), and Nile (US). These and other bands are shown to
draw inspiration from Classical literature and mythology such as
the Homeric Hymns, Vergil's Aeneid, and Caesar's Gallic Wars,
historical figures from Rome and ancient Egypt, and even pagan and
occult aspects of antiquity. These bands' engagements with
Classical antiquity also speak to contemporary issues of
nationalism, identity, sexuality, gender, and globalization. The
contributors show how the genre of heavy metal brings its own
perspectives to Classical reception, and demonstrate that this
music-often dismissed as lowbrow-engages in sophisticated dialogue
with ancient texts, myths, and historical figures. The authors
reveal aspects of Classics' continued appeal while also arguing
that the engagement with myth and history is a defining
characteristic of heavy metal music, especially in countries that
were once part of the Roman Empire.
This book demonstrates the rich and varied ways in which heavy
metal music draws on the ancient Greek and Roman world.
Contributors examine bands from across the globe, including: Blind
Guardian (Germany), Therion (Sweden), Celtic Frost, Eluveitie
(Switzerland), Ex Deo (Canada/Italy), Heimdall, Stormlord, Ade
(Italy), Kawir (Greece), Theatre of Tragedy (Norway), Iron Maiden,
Bal-Sagoth (UK), and Nile (US). These and other bands are shown to
draw inspiration from Classical literature and mythology such as
the Homeric Hymns, Vergil's Aeneid, and Caesar's Gallic Wars,
historical figures from Rome and ancient Egypt, and even pagan and
occult aspects of antiquity. These bands' engagements with
Classical antiquity also speak to contemporary issues of
nationalism, identity, sexuality, gender, and globalization. The
contributors show how the genre of heavy metal brings its own
perspectives to Classical reception, and demonstrate that this
music-often dismissed as lowbrow-engages in sophisticated dialogue
with ancient texts, myths, and historical figures. The authors
reveal aspects of Classics' continued appeal while also arguing
that the engagement with myth and history is a defining
characteristic of heavy metal music, especially in countries that
were once part of the Roman Empire.
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