Ever since the archaeological rediscovery of the Ancient Near East, generations of scholars have attempted to reconstruct the "real Babylon,” known to us before from the evocative biblical account of the Tower of Babel. After two centuries of excavations and scholarship, Mario Liverani provides an insightful overview of modern, Western approaches, theories, and accounts of the ancient Near Eastern city.
With this influential book of essays, Jonathan Z. Smith has pointed the academic study of religion in a new theoretical direction, one neither theological nor willfully ideological. Making use of examples as apparently diverse and exotic as the Maori cults in nineteenth-century New Zealand and the events of Jonestown, Smith shows that religion must be construed as conventional, anthropological, historical, and as an exercise of imagination. In his analyses, religion emerges as the product of historically and geographically situated human ingenuity, cognition, and curiosity—simply put, as the result of human labor, one of the decisive but wholly ordinary ways human beings create the worlds in which they live and make sense of them. "These seven essays . . . display the critical intelligence, creativity, and sheer common sense that make Smith one of the most methodologically sophisticated and suggestive historians of religion writing today. . . . Smith scrutinizes the fundamental problems of taxonomy and comparison in religious studies, suggestively redescribes such basic categories as canon and ritual, and shows how frequently studied myths may more likely reflect situational incongruities than vaunted mimetic congruities. His final essay, on Jonestown, demonstrates the interpretive power of the historian of religion to render intelligible that in our own day which seems most bizarre."—Richard S. Sarason, Religious Studies Review
In film imagery, urban spaces show up not only as spatial settings of a story, but also as projected ideas and forms that aim to recreate and capture the spirit of cultures, societies and epochs. Some cinematic cities have even managed to transcend fiction to become part of modern collective memory. Can we imagine a futuristic city not inspired at least remotely by Fritz Lang’s Metropolis? In the same way, ancient Babylon, Troy and Rome can hardly be shaped in popular imagination without conscious or subconscious references to the striking visions of Griffiths’ Intolerance, Petersen’s Troy and Scott’s Gladiator, to mention only a few influential examples. Imagining Ancient Cities in Film explores for the first time in scholarship film representations of cities of the Ancient World from early cinema to the 21st century. The volume analyzes the different choices made by filmmakers, art designers and screen writers to recreate ancient urban spaces as more or less convincing settings of mythical and historical events. In looking behind and beyond intended archaeological accuracy, symbolic fantasy, primitivism, exoticism and Hollywood-esque monumentality, this volume pays particular attention to the depiction of cities as faces of ancient civilizations, but also as containers of moral ideas and cultural fashions deeply rooted in the contemporary zeitgeist and in continuously revisited traditions.
This volume presents Babylon as it has been passed down through Western culture: through the Bible, classical texts, in Medieval travel accounts, and through depictions of the Tower motif in art. It then details the discovery of the material culture remains of Babylon from the middle of the 19th century and through the great excavation of 1899-1917, and focuses on the encounter between the Babylon of tradition and the Babylon unearthed by the archaeologists. This book is unique in its multi-disciplinary approach, combining expertise in biblical studies and Assyriology with perspectives on history, art history, intellectual history, reception studies and contemporary issues.
Groundbreaking and compelling, Watching Babylon examines the experience of watching the war against Iraq on television, on the internet, in the cinema and in print media. Mirzoeff shows how the endless stream of images flowing from the Gulf has necessitated a new form of visual thinking, one which recognises that the war has turned images themselves into weapons. Drawing connections between the history and legend of ancient Babylon, the metaphorical Babylon of Western modernity, and everyday life in the modern suburb of Babylon, New York, Mirzoeff explores ancient concerns which have found new resonance in the present day. In the tradition of Walter Benjamin, Watching Babylon illuminates the Western experience of the Iraqi war and makes us re-examine the very way we look at images of conflict.
In film imagery, urban spaces show up not only as spatial settings of a story, but also as projected ideas and forms that aim to recreate and capture the spirit of cultures, societies and epochs. Some cinematic cities have even managed to transcend fiction to become part of modern collective memory. Can we imagine a futuristic city not inspired at least remotely by Fritz Lang’s Metropolis? In the same way, ancient Babylon, Troy and Rome can hardly be shaped in popular imagination without conscious or subconscious references to the striking visions of Griffiths’ Intolerance, Petersen’s Troy and Scott’s Gladiator, to mention only a few influential examples. Imagining Ancient Cities in Film explores for the first time in scholarship film representations of cities of the Ancient World from early cinema to the 21st century. The volume analyzes the different choices made by filmmakers, art designers and screen writers to recreate ancient urban spaces as more or less convincing settings of mythical and historical events. In looking behind and beyond intended archaeological accuracy, symbolic fantasy, primitivism, exoticism and Hollywood-esque monumentality, this volume pays particular attention to the depiction of cities as faces of ancient civilizations, but also as containers of moral ideas and cultural fashions deeply rooted in the contemporary zeitgeist and in continuously revisited traditions.
In The Proper Study of Religion, Sam Gill charts an innovative course of development for the academic study of religion by engaging the legacy of Jonathan Z. Smith, Gill's teacher and mentor for fifty years. Building on Smith's foundational legacy through creative encounters, Gill explores an extensive range of absorbing topics including: comparison as essential to academic technique and to human knowledge itself; play, philosophically understood, as a coredynamic of Smith's entire program; the relationship of academic document-based studies to the sensory-rich real world of religions; and self-moving as providing a biological and philosophical foundation on which to develop and expand upon a proper academic study of religion.
The metaphor of the palimpsest has been increasingly invoked to conceptualize cities with deep, living pasts. This volume seeks to think through, and beyond, the logic of the palimpsest, asking whether this fashionable trope slyly forces us to see contradiction where local inhabitants saw (and see) none, to impose distinctions that satisfy our own assumptions about historical periodization and cultural practice, but which bear little relation to the experience of ancient, medieval or early modern persons. Spanning the period from Constantine’s foundation of a New Rome in the fourth century to the contemporary aftermath of the Lebanese civil war, this book integrates perspectives from scholars typically separated by the disciplinary boundaries of late antique, Islamic, medieval, Byzantine, Ottoman and modern Middle Eastern studies, but whose work is united by their study of a region characterized by resilience rather than rupture. The volume includes an introduction and eighteen contributions from historians, archaeologists and art historians who explore the historical and cultural complexity of eastern Mediterranean cities. The authors highlight the effects of the multiple antiquities imagined and experienced by persons and groups who for generations made these cities home, and also by travelers and other observers who passed through them. The independent case studies are bound together by a shared concern to understand the many ways in which the cities’ pasts live on in their presents.
Combining a unique overview of metropolitan visual culture with detailed textual analysis, this interdisciplinary study explores the relationship between the two cities which Londoners inhabited: the physical spaces of the metropolis, whose socially stratified and gendered topography was shaped by consumer culture and unregulated capitalism; and an imaginary 'London', an 'Unreal City' which reflected and influenced their understanding of, and actions in, the 'real' environment.
'A book of ideas [...] Strathern ably guides us through these moments of glory.' -- The Times *** Great cities are complex, chaotic and colossal. These are cities that dominate the world stage and define eras; where ideas flourish, revolutions are born and history is made. Through ten unique cities, from the founding of ancient capitals to buzzing modern megacities, Paul Strathern explores how urban centres lead civilisation forward, enjoying a moment of glory before passing on the baton. We journey back to discover Babylonian mathematics, Athenian theatre and intellectual debate, and Roman construction that has lasted millennia. We see Constantinople evolve into Istanbul, revolutionary sparks fly in Enlightenment Paris, and the railways, canals and ships that built Imperial London. In Moscow men build spaceships while others starve, New York's skyscrapers rise up to a soundtrack of jazz, Mumbai becomes home to immense wealth and poverty, and Beijing's economic transformation leads the way. Each city has its own distinct personality, and Ten Cities that Led the World brings their rich and diverse histories to life, reminding us of the foundations we have built on and how our futures will be shaped.
