Josiah Osgood, Kit Morrell, and Kathryn Welch (eds)
- Published in print:
- 2019
- Published Online:
- October 2019
- ISBN:
- 9780190901400
- eISBN:
- 9780190901431
- Item type:
- book
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/oso/9780190901400.001.0001
- Subject:
- Classical Studies, Archaeology: Classical
The princeps Augustus (63 BCE–14 CE), recognized as the first of the Roman emperors, looms large in the teaching and writing of Roman history. Major political, literary, and artistic developments ...
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The princeps Augustus (63 BCE–14 CE), recognized as the first of the Roman emperors, looms large in the teaching and writing of Roman history. Major political, literary, and artistic developments alike are attributed to him. This book deliberately and provocatively shifts the focus off Augustus while still looking at events of his time. Contributors uncover the perspectives and contributions of a range of individuals other than the princeps. Not all thought they were living in the “Augustan Age.” Not all took their cues from Augustus. In their self-display or ideas for reform, some anticipated Augustus. Others found ways to oppose him that also helped to shape the future of their community. The volume challenges the very idea of an “Augustan Age” by breaking down traditional turning points and showing the continuous experimentation and development of these years to be in continuity with earlier Roman culture. In showcasing absences of Augustus and giving other figures their due, the chapters of this volume make a seemingly familiar period startlingly new.Less
The princeps Augustus (63 BCE–14 CE), recognized as the first of the Roman emperors, looms large in the teaching and writing of Roman history. Major political, literary, and artistic developments alike are attributed to him. This book deliberately and provocatively shifts the focus off Augustus while still looking at events of his time. Contributors uncover the perspectives and contributions of a range of individuals other than the princeps. Not all thought they were living in the “Augustan Age.” Not all took their cues from Augustus. In their self-display or ideas for reform, some anticipated Augustus. Others found ways to oppose him that also helped to shape the future of their community. The volume challenges the very idea of an “Augustan Age” by breaking down traditional turning points and showing the continuous experimentation and development of these years to be in continuity with earlier Roman culture. In showcasing absences of Augustus and giving other figures their due, the chapters of this volume make a seemingly familiar period startlingly new.
Helen Jacobsen
- Published in print:
- 2011
- Published Online:
- January 2012
- ISBN:
- 9780199693757
- eISBN:
- 9780191731976
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199693757.003.0004
- Subject:
- History, British and Irish Early Modern History, Cultural History
Collecting and connoisseurship in the second half of the seventeenth century has often suffered a bad press, sandwiched as it is between the art collecting passions of the Caroline court and the ...
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Collecting and connoisseurship in the second half of the seventeenth century has often suffered a bad press, sandwiched as it is between the art collecting passions of the Caroline court and the rules of taste of the Augustan Age. This chapter shows by contrast that English diplomats were in the forefront of taste and collecting, and not only displayed the same level of connoisseurship as their predecessors, but were also instrumental in bringing new styles and genres of painting – Dutch and Netherlandish still lifes, genre paintings, interiors and landscapes, and French decorative wall and ceiling paintings being the most obvious examples – and artists themselves to England. Diplomatic patronage also illustrates the comparatively broad socio-economic penetration of art collecting by 1700. Paintings were collected in the seventeenth century for their novelty, for their decorative qualities, for the distinction they conferred, and for reasons of political patronage, as well as for the appreciation of artistic talent.Less
Collecting and connoisseurship in the second half of the seventeenth century has often suffered a bad press, sandwiched as it is between the art collecting passions of the Caroline court and the rules of taste of the Augustan Age. This chapter shows by contrast that English diplomats were in the forefront of taste and collecting, and not only displayed the same level of connoisseurship as their predecessors, but were also instrumental in bringing new styles and genres of painting – Dutch and Netherlandish still lifes, genre paintings, interiors and landscapes, and French decorative wall and ceiling paintings being the most obvious examples – and artists themselves to England. Diplomatic patronage also illustrates the comparatively broad socio-economic penetration of art collecting by 1700. Paintings were collected in the seventeenth century for their novelty, for their decorative qualities, for the distinction they conferred, and for reasons of political patronage, as well as for the appreciation of artistic talent.
Rolf Lessenich
- Published in print:
- 2018
- Published Online:
- May 2021
- ISBN:
- 9781474439411
- eISBN:
- 9781474453806
- Item type:
- chapter
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9781474439411.003.0004
- Subject:
- Literature, 19th-century and Victorian Literature
In accordance with David Hume’s sceptical philosophy of identity, Byron is considered to be a chameleon and a typical border crosser of his age. Commuting between the progressivist Augustan ...
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In accordance with David Hume’s sceptical philosophy of identity, Byron is considered to be a chameleon and a typical border crosser of his age. Commuting between the progressivist Augustan Neoclassicism of the old school and Romanticism of the new heretical school, Byron shows his indebtedness to the Classical Tradition and endorses the artistry of formal Augustan verse-making, schooled on Horace, Dryden, and Pope. In this respect, Byron belongs to a coterie of famous code switchers between Classicism and Romanticism who wavered in their political allegiance between liberalism and conservatism and consequently eluded neat classifications.Less
In accordance with David Hume’s sceptical philosophy of identity, Byron is considered to be a chameleon and a typical border crosser of his age. Commuting between the progressivist Augustan Neoclassicism of the old school and Romanticism of the new heretical school, Byron shows his indebtedness to the Classical Tradition and endorses the artistry of formal Augustan verse-making, schooled on Horace, Dryden, and Pope. In this respect, Byron belongs to a coterie of famous code switchers between Classicism and Romanticism who wavered in their political allegiance between liberalism and conservatism and consequently eluded neat classifications.
Walter Cohen
- Published in print:
- 2017
- Published Online:
- March 2017
- ISBN:
- 9780198732679
- eISBN:
- 9780191796951
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780198732679.003.0003
- Subject:
- Literature, European Literature
The history of classical Latin literature is closely connected to the fortunes of Roman imperialism, its crucial slave economy, and increasing inequality, under both the Republic and the Empire. The ...
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The history of classical Latin literature is closely connected to the fortunes of Roman imperialism, its crucial slave economy, and increasing inequality, under both the Republic and the Empire. The writers’ natives lands—rarely Rome itself—often anticipate larger political trends from the third century BCE to the fifth century CE. Their texts, deeply indebted not only to Greek literature but also to the cultural heritage of the Near East and beyond, reveal the ongoing presence of an imperial counter-narrative, a distancing from celebrations of Rome. This multilayered tradition is an important legacy to European literature. Classical Latin may also be considered in relation to other ancient literatures, especially imperial literatures, and above all Chinese literature of the Han Dynasty. This comparison suggests that literature thrives, as in the Augustan Age (Horace, Virgil), when it is neither too close to nor too far from power.Less
The history of classical Latin literature is closely connected to the fortunes of Roman imperialism, its crucial slave economy, and increasing inequality, under both the Republic and the Empire. The writers’ natives lands—rarely Rome itself—often anticipate larger political trends from the third century BCE to the fifth century CE. Their texts, deeply indebted not only to Greek literature but also to the cultural heritage of the Near East and beyond, reveal the ongoing presence of an imperial counter-narrative, a distancing from celebrations of Rome. This multilayered tradition is an important legacy to European literature. Classical Latin may also be considered in relation to other ancient literatures, especially imperial literatures, and above all Chinese literature of the Han Dynasty. This comparison suggests that literature thrives, as in the Augustan Age (Horace, Virgil), when it is neither too close to nor too far from power.
