In exquisitely detailed illustrations and engaging words, Stephen Conlin and Peter Harbison bring alive the story of Dublin - its architecture and streetscapes, its government and its people - from Viking times to the present day.
Based on two international conferences held at Cornell University and the Freie Universität of Berlin in 2010 and 2015, this volume is the first ever to explicitly address the destruction of plaster cast collections of ancient Mediterranean and Western sculpture. Focusing on Europe, the Americas, and Japan, art historians, archaeologists and a literary scholar discuss how different museum and academic traditions – national as well as disciplinary –, notions of value and authenticity, or colonialism impacted the fate of collections. The texts offer detailed documentation of degrees of destruction by spectacular acts of defacement, demolition, discarding, or neglect. They also shed light on the accompanying discourses regarding aesthetic ideals, political ideologies, educational and scholarly practices, or race. With destruction being understood as a critical part of reception, the histories of cast collections defy the traditional, homogenous narrative of rise and decline. Their diverse histories provide critical evidence for rethinking the use and display of plaster cast collections in the contemporary moment.
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The Irish Classical Self considers the role of classical languages and learning in the construction of Irish cultural identities in the eighteenth and nineteenth centuries, focusing in particular on the "lower ranks" of society. This eighteenth century notion of the "classical self" grew partly out of influential identity narratives developed in the seventeenth century by clerics on the European continent: responding to influential critiques of the Irish as ignorant barbarians, they published works demonstrating the value and antiquity of indigenous culture and made traditional annalistic claims about the antiquity of Irish and connections between Ireland and the biblical and classical world broadly known. In the eighteenth century these and related ideas spread through Irish poetry, which demonstrated the complex and continuing interaction of languages in the country: a story of conflict, but also of communication and amity. The "classical strain" in the context of the non-elite may seem like an unlikely phenomenon but the volume exposes the truth in the legend of the classical hedge schools which offered tuition in Latin and Greek to poor students, for whom learning and claims to learning had particular meaning and power. This volume surveys official data on schools and scholars together with literary and other narratives, showing how the schools, inherently transgressive because of the Penal Laws, drove concerns about class and political loyalty and inspired seductive but contentious retrospectives. It demonstrates that classical interests among those "in the humbler walks of life" ran in the same channels as interests in Irish literature and contemporary Irish poetry and demands a closer look at the phenomenon in its entirety.