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By Simon Goldhill

How did the Victorians interact with the traditional international? Victorian tradition and Classical Antiquity is a super exploration of the way the traditional worlds of Greece and Rome stimulated Victorian tradition. via Victorian paintings, opera, and novels, Simon Goldhill examines how sexuality and hope, the politics of tradition, and the function of faith in society have been thought of and debated throughout the Victorian obsession with antiquity.
Looking at Victorian paintings, Goldhill demonstrates how hope and sexuality, rather anxieties approximately male hope, have been represented and communicated via classical imagery. Probing into operas of the interval, Goldhill addresses rules of citizenship, nationalism, and cultural politics. and during fiction--specifically nineteenth-century novels in regards to the Roman Empire--he discusses faith and the fierce battles over the church as Christianity started to lose dominance over the revolutionary stance of Victorian technology and research. Rediscovering a few nice forgotten works and reframing a few extra favourite ones, the publication deals striking insights into how the Victorian feel of antiquity and our feel of the Victorians got here into being.

With a variety of examples and tales, Victorian tradition and Classical Antiquity demonstrates how curiosity within the classical previous formed nineteenth-century self-expression, giving antiquity a different position in Victorian tradition.

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Extra info for Victorian Culture and Classical Antiquity: Art, Opera, Fiction, and the Proclamation of Modernity

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1900) by John William Waterhouse, oil on canvas, 81 × 53 cm. Private collection. Photo: The Bridgeman Art Library. Image reference: NUL121285 Plate 10. Sappho and Alcaeus (1881) by Lawrence Alma-Tadema, oil on canvas, 66 × 122 cm. The Walters Art Museum, Baltimore, MD Plate 11. 5 cm. The George W. Elkins Collection, 1924, Philadelphia Museum of Art, Philadelphia. Photo: The Philadelphia Museum of Art / Art Resource, NY Plate 12. 1 cm. Manchester Art Gallery, UK. Photo: The Bridgeman Art Library.

Image reference: MEL48925 Plate 14. 1 cm. Tate Gallery, London. Photo: Tate, London / Art Resource, NY Plate 15. The Kiss of the Sphinx by Franz von Stuck (1863–1928). Szépmuvészeti ˝ Múzeum, Budapest Plate 16. 2 cm. National Gallery of Victoria, Melbourne, Australia. Photo: The Bridgeman Art Library.

In the first section of this book, I want to look at how paintings depicting the classical past became a way of talking about—or not talking about—sexual desire, in a period that has become celebrated for its (modern) discovery of sexual science, from the invention, as we say, of homosexuality to Freud’s archaeology of the psyche. How did the passion for antiquity depict and explore passion through antiquity? How did images of ancient desire find a privileged place amid the loud claims of modernity to a new vision of sexuality?

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