Rhetoric was once primary to schooling and to cultural aspiration within the Greek and Roman worlds. It used to be one of many key facets of antiquity that slipped below the road among the traditional international and Christianity erected through the early Church in overdue antiquity. historic rhetorical thought is passionate about examples and discussions drawn from visible fabric. This publication mines this wealthy seam of theoretical research from inside of Roman tradition to provide an internalist version for a few points of ways the Romans understood, made and liked their artwork. the certainty of public monuments just like the Arch of Titus or Trajan's Column or of imperial statuary, family wall portray, funerary altars and sarcophagi, in addition to of intimate goods like children's dolls, is vastly enriched by way of being positioned in correct rhetorical contexts created via the Roman global.
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Extra info for Art and Rhetoric in Roman Culture
See Philostratus, Imagines 1. Proem, 2 with Maﬀei 1991. On colour, see Dubel 2009.
For prose, see Whitmarsh 2002 on ‘ekphrastic contagion’ in our longest ancient novel; Elsner 2007d: 289–302 on Apuleius’ Golden Ass. For panegyric, see Elsner 2007c: 33–57. For polemic in relation to Polemo’s Physiognomics, see Swain 2007. 1). 8). 4). 5) – and we must suppose the very speech within which all this is said, to be that picture. The embeddedness of artistic paradigms in rhetorical thinking is perhaps most acutely caught in a number of remarkable controversiae, or imaginary legal cases, used for the teaching of law and rhetoric in Rome.
Watson 1988; Benediktson 2000: 162–88; Goldhill 2001: 168–70, 176–9; Platt 2009a; Webb 2009: 107–30. An excellent (visual) example is Lucian’s Hercules, where the speaker describes a very unusual ‘Gallic’ Hercules, plays with his own uncertainties about it, invents an old and learned man to explain the image to him and ends up with it being a self-portrait of Lucian’s own eloquence in old age. Elsner 2007d: 58–62. Discussed at length by Kleiner 1985: 9–96 and da Maria 1988: 55–117. 13 14 Jaś Elsner monuments more generally, the Arch of Titus was making a claim to particular distinction.
Art and Rhetoric in Roman Culture