Kant and the Problem of Metaphysics

The Virtual Window: From Alberti to Microsoft

The only unique forms are 4PLKE and trap' av'Av, though EyKE'aAos is unique in that position, and with the form and position of ~yXEi one would have expected XaAKELic. In other words, the conclusion is that formula and motif cannot be separated. If the poet wishes to adapt or modify a motif, he does so in as far as inventiveness and formulaic technique allow. The question then becomes why does the poet choose to adapt the motif here, making it that much more gruesome than in its previous manifestations? T.'s answer is that the three other scenes occur at the start of a battle

https://www.jstor.org/stable/pdfplus/3064211.pdf

The Hesiodic catalogue of women

Majcherek, G. 2010 Discovering Alexandria – Archaeological update on the finds from Kom el-Dikka, (in:) D. Robinson, A. Wilson (eds.), Alexandria and the North-Western Delta. Joint Conference Proceedings of “Alexandria City and Harbour (Oxford 2004)” and “The Trade and Topography of Egypt’s North-West Delta: 8th century BC to 8th century AD (Berlin 2006)”, Oxford Centre for Maritime Archaeology 5, Oxford, 75–89.

Plateia, Pedion, “Canopic Street”: Archeological evidence of the main street of ancien Alexandria

In the first centuries BCE and CE, Roman wall painters frequently placed representations of works of art, especially panel paintings, within their own mural compositions. Nathaniel B. Jones argues that the depiction of panel painting within mural ensembles functioned as a meta-pictorial reflection on the practice and status of painting itself. This phenomenon provides crucial visual evidence for both the reception of Greek culture and the interconnected ethical and aesthetic values of art in the Roman world. Roman meta-pictures, this book reveals, not only navigated social debates on the production and consumption of art, but also created space on the Roman wall for new modes of expression relating to pictorial genres, the role of medium in artistic practice, and the history of painting. Richly illustrated, the volume will be important for anyone interested in the social, ethical, and aesthetic dimensions of artworks, in the ancient Mediterranean and beyond.

Painting, Ethics, and Aesthetics in Rome

When we try to make sense of pictures, what do we gain when we use a particular method - and what might we be missing or even losing? Empirical experimentation on three types of mythological imagery - a Classical Greek pot, a frieze from Hellenistic Pergamon and a second-century CE Roman sarcophagus - enables Katharina Lorenz to demonstrate how theoretical approaches to images (specifically, iconology, semiotics, and image studies) impact the meanings we elicit from Greek and Roman art. A guide to Classical images of myth, and also a critical history of Classical archaeology's attempts to give meaning to pictures, this book establishes a dialogue with the wider field of art history and proposes a new framework for the study of ancient visual culture. It will be essential reading not just for students of classical art history and archaeology, but for anyone interested in the possibilities - and the history - of studying visual culture.

This book:
- Proposes a new framework for the study of (ancient) visual culture based on engagement with Greek and Roman mythological imagery, appealing to those seeking to better their understanding of Greek and Roman cultural history.

- Relates historiography and method development in Classical archaeology and ancient art history to the art history of more modern periods, and will therefore be of interest to readers interested in the Classical world and those concerned with more recent historical periods.

- Tracks intellectual developments in different contexts and carves out their similarities and differences, speaking to readers from different intellectual backgrounds and familiarising them with broader developments in western European art history.

Ancient Mythological Images and their Interpretation: An Introduction to Iconology, Semiotics and Image Studies in Classical Art History

Neronian Wall‐Painting. A Matter of Perspective

Gibt es eine Beziehung zwischen Bildern an der Wand und der Tapete im Kopf ihrer Betrachter? Und wie koennte sich eine derartige Beziehung methodisch greifen lassen, welche soziohistorischen Aspekte liessen sich aus ihr gewinnen? Mit der kontextuellen Analyse von Mythenbildern in pompeianischen Wohnhausern entwickelt Katharina Lorenz ein neues, stimulierendes Modell zur Beantwortung dieser in unserer Iconic Turn Gesellschaft zentralen Fragen Gegen die quantifizierende und generalisierende Betrachtungsweise fruherer Untersuchungen ist eine konsequente kritisch-ikonologische Analyse der Mythenbilder gesetzt Im Zentrum steht das Bild und seine Gestaltung im Detail und in der Kombination mit anderen Bildern Wesentlicher Schwerpunkt liegt auf den Strategien der Bilderzahlung und ihren Einfluss auf die Erzeugung unterschiedlicher Raumatmospharen Aus der kontextuellen Analyse der Mythen ergibt sich eine neue Perspektive auf roemisches Wohnen, und gleichsam auf den Kommunikationsfaktor "Mythos", durch welchen Ideale und Wunsche der Betrachter im Wohnbereich nicht in eine Marchenwelt ausgelagert, sondern fur einen intensiven Diskurs organisiert werden Damit leistet die Studie einen wesentlichen Beitrag zur Bildanthropologie der fruhen Kaiserzeit

Bilder machen Räume : Mythenbilder in pompeianischen Häusern

Erwin Panofsky explicitly states that the first half of the opening chapter of Studies in Iconology— his landmark American publication of 1939 — contains ‘the revised content of a methodological article published by the writer in 1932’, which is now translated for the first time in this issue of Critical Inquiry.1 That article, published in the philosophical journal Logos, is among his most important works. First, it marks the apogee of his series of philosophically reflective essays on how to do art history,2 that reach back, via a couple of major pieces on Alois Riegl, to the 1915 essay on Heinrich Wolfflin.3 Under the influence of his colleague at Hamburg Ernst Cassirer, the principal interpreter of Kant in the 1920s, Panofsky from 1915

https://www.jstor.org/stable/10.1086/664548

The Genesis of Iconology

Introduction Helen Lovatt and Caroline Vout 1. Seeing in the dark: kleos, tragedy and perception in Iliad 10 Jon Hesk 2. Operatic visions: Berlioz stages Virgil Helen Lovatt 3. Visualising Venus: epiphany and anagnorisis in Valerius Flaccus' Argonautica Emma Buckley 4. The look of the late antique emperor and the art of praise Roger Rees 5. Intermediality in Latin epic - en video quaecumque audita Martin T. Dinter 6. Viewing violence in Statius' Thebaid and the films of Quentin Tarantino Kyle Gervais 7. Storyboarding and epic Lynn S. Fotheringham and Matt Brooker 8. Epic in the round Caroline Vout 9. 'Split-screen' visions: Heracles on top of Troy in the Casa di Octavius Quartio in Pompeii Katharina Lorenz 10. Epic visions on the Tabulae Iliacae Michael Squire.

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Katharina Lorenz

Papers

Ancient Mythological Images and their Interpretation: An Introduction to Iconology, Semiotics and Image Studies in Classical Art History

Neronian Wall‐Painting. A Matter of Perspective

Bilder machen Räume : Mythenbilder in pompeianischen Häusern

The Genesis of Iconology

Split-screen visions: Heracles on top of Troy in the Casa di Octavius Quartio in Pompeii