This book offers a range of views on spolia and appropriation in art and architecture from fourth-century Rome to the late twentieth century. Using case studies from different historical moments and cultures, contributors test the limits of spolia as a critical category and seek to define its specific character in relation to other forms of artistic appropriation. Several authors explore the ethical issues raised by spoliation and their implications for the evaluation and interpretation of new work made with spolia. The contemporary fascination with spolia is part of a larger cultural preoccupation with reuse, recycling, appropriation and re-presentation in the Western world. All of these practices speak to a desire to make use of pre-existing artifacts (objects, images, expressions) for contemporary purposes. Several essays in this volume focus on the distinction between spolia and other forms of reused objects. While some authors prefer to elide such distinctions, others insist that spolia entail some form of taking, often violent, and a diminution of the source from which they are removed. The book opens with an essay by the scholar most responsible for the popularity of spolia studies in the later twentieth century, Arnold Esch, whose seminal article 'Spolien' was published in 1969. Subsequent essays treat late Roman antiquity, the Eastern Mediterranean and the Western Middle Ages, medieval and modern attitudes to spolia in Southern Asia, the Italian Renaissance, the European Enlightenment, modern America, and contemporary architecture and visual culture.

In A Centaur in Auschwitz, Massimo Giuliani sheds new light on Primo Levi's rational, demythologizing approach to suffering and survival. Whether working in narrative or poetic form, Levi grappled with the ambiguities and complexities of innocence and guilt, triumph and loss. Giuliani presents a powerful new means to understand Levi's thought: employing the neologism of salvaction (conveying "salvation" through one's own "action"), Giuliani has developed a "star of salvaction" a diagram in the shape of a star of David, in which each of the six points leads to a strategy Levi learned for seeking meaning, and thereby salvation, in the misery of Auschwitz. This unique book, with its concise overview of Levi's expression and development as a writer, reveals Primo Levi for what he was: scientist, intellectual, Jew, and dedicated seeker of the roots of human dignity."

This book offers a range of views on spolia and appropriation in art and architecture from fourth-century Rome to the late twentieth century. Using case studies from different historical moments and cultures, contributors test the limits of spolia as a critical category and seek to define its specific character in relation to other forms of artistic appropriation. Several authors explore the ethical issues raised by spoliation and their implications for the evaluation and interpretation of new work made with spolia. The contemporary fascination with spolia is part of a larger cultural preoccupation with reuse, recycling, appropriation and re-presentation in the Western world. All of these practices speak to a desire to make use of pre-existing artifacts (objects, images, expressions) for contemporary purposes. Several essays in this volume focus on the distinction between spolia and other forms of reused objects. While some authors prefer to elide such distinctions, others insist that spolia entail some form of taking, often violent, and a diminution of the source from which they are removed. The book opens with an essay by the scholar most responsible for the popularity of spolia studies in the later twentieth century, Arnold Esch, whose seminal article 'Spolien' was published in 1969. Subsequent essays treat late Roman antiquity, the Eastern Mediterranean and the Western Middle Ages, medieval and modern attitudes to spolia in Southern Asia, the Italian Renaissance, the European Enlightenment, modern America, and contemporary architecture and visual culture.

In A Centaur in Auschwitz, Massimo Giuliani sheds new light on Primo Levi's rational, demythologizing approach to suffering and survival. Whether working in narrative or poetic form, Levi grappled with the ambiguities and complexities of innocence and guilt, triumph and loss. Giuliani presents a powerful new means to understand Levi's thought: employing the neologism of salvaction (conveying 'salvation' through one's own 'action'), Giuliani has developed a 'star of salvaction' a diagram in the shape of a star of David, in which each of the six points leads to a strategy Levi learned for seeking meaning, and thereby salvation, in the misery of Auschwitz. This unique book, with its concise overview of Levi's expression and development as a writer, reveals Primo Levi for what he was: scientist, intellectual, Jew, and dedicated seeker of the roots of human dignity."

Inhalt: Voraussetzungen und Umfeld: Alter Orient und A"gypten - Von der Antike in die Neuzeit und zurA1/4ck - Kulturelle Geographie - Gegenwelten in Bildern: Griechenland - Gegenwelten in Bildern: Rom Die Griechen haben, seit der frA1/4hen archaischen Zeit, ihre Welt in einem eminenten MaA in Bildern begriffen. In Bildern von sich selbst und Gegenbildern zu sich selbst. Die Selbstbilder sind seit Jahrhunderten bewundert und analysiert worden. Hier geht es um die Gegenbilder. Weitgehend waren es Wertvorsstellungen der eigenen Kultur, die dann durch neue Normen und Verhaltensmuster in die Gegenwelt der groAen Antipoden projiziert wurden. Gerade weil es abgedrAngte Ideale und latente MAglichkeiten der eigenen Kultur waren, gewannen sie solche Faszination und AktualitAt.

This reprint of Richard Brilliant's papers document the development of his ideas concerning Roman art and its links with Greek art. Divided into three sections, the papers discuss portraiture, the methods by which Roman artists adapted earlier models and the symbolic structures and characteristics of Roman art. Subjects include Jewish symbolism, the use of Greek mythology and the place of Africa in the art of Greece and Rome.