By David H. J. Larmour, Diana Spencer
Книга The websites of Rome: Time, area, reminiscence The websites of Rome: Time, house, MemoryКниги География Автор: David H. J. Larmour, Diana Spencer Год издания: 2007 Формат: pdf Издат.:Oxford collage Press Страниц: 450 Размер: 5,9 ISBN: 0199217491 Язык: Английский0 (голосов: zero) Оценка:Rome was once a construction website for far of its heritage, a urban consistently reshaped and reconstituted in accordance with political and cultural switch. In later instances, the conjunction of ruins and rebuilding lent the cityscape a very interesting personality, a lot exploited through artists and writers. This layering and altering of vistas additionally reveals expression within the literary culture, from classical occasions correct as much as the twenty-first-century. This number of essays bargains glimpses, sideways glances and unforeseen angles that open up Rome in its widest attainable feel, and explores how the seen parts of Rome - the hills, the Tiber, the temples, the boards, the Colosseum, the statues and monuments - function as, or turn into, the sites/sights of Rome.The analyses are expert via modern serious considering and draw on old old narrative, Roman poetry, Renaissance literature and cartography, paintings of the Grand journey period, Russian and Soviet interpretations, and twentieth-century cinema.
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Extra resources for The Sites of Rome: Time, Space, Memory
71 As Balina’s essay makes clear, the position of St Petersburg as a momentously loaded simulacrum of Rome— deWned through its imaginary and palimpsestic qualities as an artiWcially generated Russian space—is central to the pre-Revolutionary Zeitgeist. The impact of Rome on literary genres is also considered here. The Augustan building programme altered the centre of Rome, especially as far as the viewing and experience of space was concerned, in as farreaching a way as Franz Josef ’s ediWces changed Vienna or Haussmann’s did Paris.
30 The Sites of Rome The process of working on a collection such as this necessitates engaging with absence and omission as much as presence. 80 Moreover, although we are all inheritors of a ‘Rome’ coloured and given chiaroscuro by neo-classical, Romantic, and nineteenth-century appropriations, none of us has chosen to write in detail about these eras. Instead, we focus on the Wrst hundred and Wfty years of the imperial period and the imaginative energy that reinvented classical Rome as a site of European consciousness in the Renaissance; we consider the impact of Rome’s hills and the view from above on urban iconography and Rome’s ideological signiWcance; we explore the conXicting realia of Rome invoked by damnatio memoriae in Soviet Russia, and juxtapose this with its potential both to represent an ultimate paradigm for class-struggle and simultaneously to operate as a parallel (or even possible) locus of kaleidoscopic diVerence; and we conclude by exploring the frantic dislocation in Fellini’s Roma of post-war Rome’s fractured dialogue with recent and classical pasts.
Satire and the Forma Urbis, in diVerent ways, suggest an alternative Rome, one familiar from Le Corbusier’s comment that architecture was impossible 83 Lott (2004), Chapters 1 and 4 in particular, makes clear the complexity of Rome’s urban fabric. html> (checked 28 July 2006). Particularly useful is the discussion by Tina Najbjerg at ‘The Severan Marble Plan of Rome (Forma Urbis Romae)’. html> (checked 19 June 2006). Cf. Duret and Ne´raudau (2001: 325–8) on ‘Les ‘‘Baedecker’’ de Rome’. 36 The Sites of Rome in ancient Rome because ‘the city walls were too crowded, the houses were piled up ten stories high .