The Classical Tradition: Art, Literature, Thought by Ingo Gildenhard, Michael Silk, Rosemary Barrow

By Ingo Gildenhard, Michael Silk, Rosemary Barrow

The Classical culture: paintings, Literature, concept offers an authoritative, coherent and wide-ranging consultant to the afterlife of Greco-Roman antiquity in later Western cultures and a ground-breaking reinterpretation of huge elements of Western tradition as an entire from a classical perspective.

- includes a targeted mix of chronological variety, cultural scope, coherent argument, and unified analysis
- Written in a full of life, attractive, and stylish manner
- provides an leading edge evaluate of the afterlife of antiquity
- Crosses disciplinary obstacles to make new feel of a wealthy number of fabric, hardly ever introduced together
- absolutely illustrated with a mixture of colour and black & white photographs

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The Classical Tradition: Art, Literature, Thought

The Classical culture: paintings, Literature, concept provides an authoritative, coherent and wide-ranging advisor to the afterlife of Greco-Roman antiquity in later Western cultures and a ground-breaking reinterpretation of huge elements of Western tradition as a complete from a classical perspective.

- includes a targeted mix of chronological variety, cultural scope, coherent argument, and unified analysis
- Written in a full of life, attractive, and stylish manner
- offers an leading edge assessment of the afterlife of antiquity
- Crosses disciplinary limitations to make new experience of a wealthy number of fabric, hardly introduced together
- absolutely illustrated with a mixture of colour and black & white photos

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Extra resources for The Classical Tradition: Art, Literature, Thought

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23 Momigliano (1963) 83. 24 Praeparatio Evangelica, 10. 10. 7 (488d). 25 Commentaria super opera diversorum auctorum de antiquitatibus loquentium (1498). 26 Paradise Lost, 1. 730–51, looking back to Iliad, 1. 570–94. 27 Bull (2005) 240; see further Thuillier (1960), 2. 213. 28 But while the Christians may have triumphed on the battlefield of history, their one-upmanship vis-à-vis the pagan remained precarious in other ways. From the first, engagement with the ancient classics exposed impressionable students to their power and beauty.

This usage of ‘renaissance’ was established by Jules Michelet’s Histoire de France au seizième siècle. La Renaissance (1855), though in 1550 Vasari (n. 7 below) had already identified a ‘rinascità’ in the visual arts, and Voltaire (following Pierre Bayle in 1695) a ‘renaissance des lettres’ in his Histoire du parlement de Paris (1769): Ferguson (1948), Pfeiffer (1976) 18. The Classical Tradition: Art, Literature, Thought, First Edition. Michael Silk, Ingo Gildenhard, and Rosemary Barrow. © 2014 Michael Silk, Ingo Gildenhard, and Rosemary Barrow.

1767). ’: Über die neuere deutsche Literatur, 3. 1. 9 (1767). 59 Von deutscher Art und Kunst, ‘Shakespeare’ (1773). 60 Ibid. ‘Ossian’ (1773). 62 Like, but also very unlike, the Petrarchan Renaissance, the new movement yearns to divide cultural history into two – the ancients and us – but now, almost invariably, this means the Greeks and us: hence the remarkable development whereby romanticism (whose definitive impulse is German) is bound up with German classicism, which is itself – unlike the Renaissance Germany never had – centred on Greece.

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