A wall frieze based on the alphabet book "Animalia", with fantastic and detailed pictures bearing such labels as "Lazy lions lounging in the local library." Also comes with a riddle sheet which contains clues and answers to further objects in the frieze.
How and why did experience and knowledge become separated? Is it possible to talk of an infancy of experience, a "dumb" experience? For Walter Benjamin, the "poverty of experience" was a characteristic of modernity, originating in the catastrophe of the First World War. For Giorgio Agamben, the Italian editor of Benjamin's complete works, the destruction of experience no longer needs catastrophes: daily life in any modern city will suffice. Agamben's profound and radical exploration of language, infancy, and everyday life traces concepts of experience through Kant, Hegel, Husserl and Benveniste. In doing so he elaborates a theory of infancy that throws new light on a number of major themes in contemporary thought: the anthropological opposition between nature and culture; the linguistic opposition between speech and language; the birth of the subject and the appearance of the unconscious. Agamben goes on to consider time and history; the Marxist notion of base and superstructure (via a careful reading of the famous Adorno-Benjamin correspondence on Baudelaire's Paris); and the difference between rituals and games. Beautifully written, erudite and provocative, these essays will be of great interest to students of philosophy, linguistics, anthropology and politics.
Sacred Thresholds. The Door to the Sanctuary in Late Antiquity offers a far-reaching account of boundaries within pagan and Christian sanctuaries: gateways in a precinct, outer doors of a temple or church, inner doors of a cella. The study of these liminal spaces within Late Antiquity – itself a key period of transition during the spread of Christianity, when cultural paradigms were redefined – demands an approach that is both interdisciplinary and diachronic. Emilie van Opstall brings together both upcoming and noted scholars of Greek and Latin literature and epigraphy, archaeology, art history, philosophy, and religion to discuss the experience of those who crossed from the worldly to the divine, both physically and symbolically. What did this passage from the profane to the sacred mean to them, on a sensory, emotive and intellectual level? Who was excluded, and who was admitted? The articles each offer a unique perspective on pagan and Christian sanctuary doors in the Late Antique Mediterranean.
Neo-Assyrian and Greek Divination in War focuses on all divinatory practices which were used in the ancient Near East and Greece in time of war. Divination was a practical way of discovering the will of the gods, and enabled human contact with the divine. Divinatory practices were crucial to decision-taking. The results of divination were especially important during war. This book concentrates on the methods used to obtain all possible information from the divine world which could impact on the results of war. Knowledge of divine plans, verdicts and favors would ensure victory, power and eternal glory. This book is also about the convergence of the ancient Near East and Greek divinatory systems, methods and practices. Step by step, it points out that the Greeks treated divination in a very similar way to the Mesopotamians, and presents the possible routes of transmission of this divine knowledge, which was practiced in both cultures by a group of well-trained professionals.
The aim of this book is to explore the definition(s) of ‘theatre’ and ‘metatheatre’ that scholars use when studying the ancient Greek world. Although in modern languages their meaning is mostly straightforward, both concepts become problematical when applied to ancient reality. In fact, ‘theatre’ as well as ‘metatheatre’ are used in many different, sometimes even contradictory, ways by modern scholars. Through a series of papers examining questions related to ancient Greek theatre and dramatic performances of various genres the use of those two terms is problematized and put into question. Must ancient Greek theatre be reduced to what was performed in proper theatre-buildings? And is everything was performed within such buildings to be considered as ‘theatre’? How does the definition of what is considered as theatre evolve from one period to the other? As for ‘metatheatre’, the discussion revolves around the interaction between reality and fiction in dramatic pieces of all genres. The various definitions of ‘metatheatre’ are also explored and explicited by the papers gathered in this volume, as well as the question of the distinction between paratheatre (understood as paratragedy/comedy) and metatheatre. Readers will be encouraged by the diversity of approaches presented in this book to re-think their own understanding and use of ‘theatre’ and ‘metatheatre’ when examining ancient Greek reality.
The first English translation of Volkmann's Bilderschriften der Renaissance, the pioneering review of the influence of the hieroglyph on Renaissance culture, focused on the literature of emblem and device in Germany and France.