Ändra sökning
Avgränsa sökresultatet
1 - 36 av 36
RefereraExporteraLänk till träfflistan
Permanent länk
Referera
Referensformat
  • apa
  • ieee
  • modern-language-association-8th-edition
  • vancouver
  • Annat format
Fler format
Språk
  • de-DE
  • en-GB
  • en-US
  • fi-FI
  • nn-NO
  • nn-NB
  • sv-SE
  • Annat språk
Fler språk
Utmatningsformat
  • html
  • text
  • asciidoc
  • rtf
Träffar per sida
  • 5
  • 10
  • 20
  • 50
  • 100
  • 250
Sortering
  • Standard (Relevans)
  • Författare A-Ö
  • Författare Ö-A
  • Titel A-Ö
  • Titel Ö-A
  • Publikationstyp A-Ö
  • Publikationstyp Ö-A
  • Äldst först
  • Nyast först
  • Skapad (Äldst först)
  • Skapad (Nyast först)
  • Senast uppdaterad (Äldst först)
  • Senast uppdaterad (Nyast först)
  • Disputationsdatum (tidigaste först)
  • Disputationsdatum (senaste först)
  • Standard (Relevans)
  • Författare A-Ö
  • Författare Ö-A
  • Titel A-Ö
  • Titel Ö-A
  • Publikationstyp A-Ö
  • Publikationstyp Ö-A
  • Äldst först
  • Nyast först
  • Skapad (Äldst först)
  • Skapad (Nyast först)
  • Senast uppdaterad (Äldst först)
  • Senast uppdaterad (Nyast först)
  • Disputationsdatum (tidigaste först)
  • Disputationsdatum (senaste först)
Markera
Maxantalet träffar du kan exportera från sökgränssnittet är 250. Vid större uttag använd dig av utsökningar.
  • 1.
    Habetzeder, Julia
    Uppsala universitet, Humanistisk-samhällsvetenskapliga vetenskapsområdet, Historisk-filosofiska fakulteten, Institutionen för arkeologi och antik historia, Antikens kultur och samhällsliv.
    Abbreviated references or "ideal herms": An abbreviated account2018Ingår i: Frusna ögonblick: Essäer tillägnade Anne-Marie Leander Touati / [ed] Henrik Gerding, Lovisa Brännstedt & Renée Forsell, Lund: Lunds universitet , 2018, 1, s. 85-104Kapitel i bok, del av antologi (Övrigt vetenskapligt)
  • 2.
    Habetzeder, Julia
    Stockholms universitet, Antikens kultur och samhällsliv.
    Att upptäcka antiken: Recensioner av Stephen L. Dyson, In pursuit of ancient pasts. A history of Classical Archaeology in the nineteenth and twentieth centuries, New Haven och London 2006, och Great moments in Greek archaeology, red. Panos Valavanis, Los Angeles 20072009Ingår i: Medusa. Svensk tidsskrift för antiken, ISSN 0349-456X, nr 4, s. 38-43Artikel, recension (Övrig (populärvetenskap, debatt, mm))
  • 3.
    Habetzeder, Julia
    Stockholms universitet, Humanistiska fakulteten, Institutionen för arkeologi och antikens kultur, Antikens kultur och samhällsliv.
    Att upptäcka antiken: Recensioner av Stephen L. Dyson, In pursuit of ancient pasts. A history of Classical Archaeology in the nineteenth and twentieth centuries, New Haven och London 2006, och Great moments in Greek archaeology, red. Panos Valavanis, Los Angeles 20072009Ingår i: Medusa. Svensk tidsskrift för antiken, ISSN 0349-456X, nr 4, s. 38-43Artikel, recension (Övrig (populärvetenskap, debatt, mm))
  • 4.
    Habetzeder, Julia
    Stockholms universitet, Humanistiska fakulteten, Institutionen för arkeologi och antikens kultur, Antikens kultur och samhällsliv.
    Dancing with decorum: The eclectic usage of kalathiskos dancers and pyrrhic dancers in Roman visual culture2012Ingår i: Opuscula: Annual of the Swedish Institutes at Athens and Rome, ISSN 2000-0898, Vol. 5, s. 7-47Artikel i tidskrift (Refereegranskat)
    Abstract [en]

    This article examines two groups of motifs in Roman visual culture: females modelled on kalathiskos dancers, and males modelled on pyrrhic dancers. Eclecticism is emphasized as a strategy which was used to introduce novelties that were appropriate within a Roman cultural context. The figures representing kalathiskos dancers and pyrrhic dancers were both changed in an eclectic manner and this resulted in motifs representing the goddess Victoria, and the curetes respectively.

    Kalathiskos dancers and eclectic Victoriae figure on many different media at least from the Augustan era and into the 2nd century AD. It is argued here that the establishment of these two motifs in Roman visual culture is closely related to the aesthetics which came to the fore during the reign of Augustus. Thereafter, both kalathiskos dancers and eclectic Victoriae lingered on in the Roman cultural context until many of the material categories on which they were depicted ceased to be produced.

    Unlike the kalathiskos dancers, the male figures modelled on pyrrhic dancers are so rare within Roman visual culture that we can only assume they were, to some extent, perceived as an inappropriate motif. This can most likely be explained by the negative attitude, amongst the Roman elite, towards male dancing.

  • 5.
    Habetzeder, Julia
    Stockholms universitet, Antikens kultur och samhällsliv.
    Dancing with decorum: The eclectic usage of kalathiskos dancers and pyrrhic dancers in Roman visual culture2012Ingår i: Opuscula: Annual of the Swedish Institutes at Athens and Rome, ISSN 2000-0898, Vol. 5, s. 7-47Artikel i tidskrift (Refereegranskat)
    Abstract [en]

    This article examines two groups of motifs in Roman visual culture: females modelled on kalathiskos dancers, and males modelled on pyrrhic dancers. Eclecticism is emphasized as a strategy which was used to introduce novelties that were appropriate within a Roman cultural context. The figures representing kalathiskos dancers and pyrrhic dancers were both changed in an eclectic manner and this resulted in motifs representing the goddess Victoria, and the curetes respectively.

    Kalathiskos dancers and eclectic Victoriae figure on many different media at least from the Augustan era and into the 2nd century AD. It is argued here that the establishment of these two motifs in Roman visual culture is closely related to the aesthetics which came to the fore during the reign of Augustus. Thereafter, both kalathiskos dancers and eclectic Victoriae lingered on in the Roman cultural context until many of the material categories on which they were depicted ceased to be produced.

    Unlike the kalathiskos dancers, the male figures modelled on pyrrhic dancers are so rare within Roman visual culture that we can only assume they were, to some extent, perceived as an inappropriate motif. This can most likely be explained by the negative attitude, amongst the Roman elite, towards male dancing.

  • 6.
    Habetzeder, Julia
    Stockholms universitet, Antikens kultur och samhällsliv.
    Ett mystiskt moln över Medelhavet2010Ingår i: Medusa. Svensk tidsskrift för antiken, ISSN 0349-456X, nr 2, s. 28-28Artikel i tidskrift (Övrig (populärvetenskap, debatt, mm))
  • 7.
    Habetzeder, Julia
    Stockholms universitet, Humanistiska fakulteten, Institutionen för arkeologi och antikens kultur, Antikens kultur och samhällsliv.
    Ett mystiskt moln över Medelhavet2010Ingår i: Medusa. Svensk tidsskrift för antiken, ISSN 0349-456X, nr 2, s. 28-28Artikel i tidskrift (Övrig (populärvetenskap, debatt, mm))
  • 8.
    Habetzeder, Julia
    Stockholms universitet, Institutionen för arkeologi och antikens kultur.
    Evading Greek models: Three studies on Roman visual culture2012Doktorsavhandling, sammanläggning (Övrigt vetenskapligt)
    Abstract [en]

    For a long time, Roman ideal sculptures have primarily been studied within the tradition of Kopienkritik. Owing to some of the theoretical assumptions tied to this practice, several important aspects of Roman visual culture have been neglected as the overall aim of such research has been to gain new knowledge regarding assumed Classical and Hellenistic models. This thesis is a collection of three studies on Roman ideal sculpture. The articles share three general aims: 1. To show that the practice of Kopienkritik has, so far, not produced convincing interpretations of the sculpture types and motifs discussed. 2. To show that aspects of the methodology tied to the practice of Kopienkritik (thorough examination and comparison of physical forms in sculptures) can, and should, be used to gain insights other than those concerning hypothetical Classical and Hellenistic model images. 3. To present new interpretations of the sculpture types and motifs studied, interpretations which emphasize their role and importance within Roman visual culture.

    The first article shows that reputed, post-Antique restorations may have an unexpected—and unwanted—impact on the study of ancient sculptures. This is examined by tracing the impact that a restored motif ("Satyrs with cymbals") has had on the study of an ancient sculpture type: the satyr ascribed to the two-figure group "The invitation to the dance". The second article presents and interprets a sculpture type which had previously gone unnoticed—The satyrs of "The Palazzo Massimo-type". The type is interpreted as a variant of "The Marsyas in the forum", a motif that was well known within the Roman cultural context. The third article examines how, and why, two motifs known from Classical models were changed in an eclectic fashion once they had been incorporated into Roman visual culture. The motifs concerned are kalathiskos dancers, which were transformed into Victoriae, and pyrrhic dancers, which were also reinterpreted as mythological figures—the curetes.

  • 9.
    Habetzeder, Julia
    Stockholms universitet, Humanistiska fakulteten, Institutionen för arkeologi och antikens kultur.
    Evading Greek models: Three studies on Roman visual culture2012Doktorsavhandling, sammanläggning (Övrigt vetenskapligt)
    Abstract [en]

    For a long time, Roman ideal sculptures have primarily been studied within the tradition of Kopienkritik. Owing to some of the theoretical assumptions tied to this practice, several important aspects of Roman visual culture have been neglected as the overall aim of such research has been to gain new knowledge regarding assumed Classical and Hellenistic models. This thesis is a collection of three studies on Roman ideal sculpture. The articles share three general aims: 1. To show that the practice of Kopienkritik has, so far, not produced convincing interpretations of the sculpture types and motifs discussed. 2. To show that aspects of the methodology tied to the practice of Kopienkritik (thorough examination and comparison of physical forms in sculptures) can, and should, be used to gain insights other than those concerning hypothetical Classical and Hellenistic model images. 3. To present new interpretations of the sculpture types and motifs studied, interpretations which emphasize their role and importance within Roman visual culture.

    The first article shows that reputed, post-Antique restorations may have an unexpected—and unwanted—impact on the study of ancient sculptures. This is examined by tracing the impact that a restored motif ("Satyrs with cymbals") has had on the study of an ancient sculpture type: the satyr ascribed to the two-figure group "The invitation to the dance". The second article presents and interprets a sculpture type which had previously gone unnoticed—The satyrs of "The Palazzo Massimo-type". The type is interpreted as a variant of "The Marsyas in the forum", a motif that was well known within the Roman cultural context. The third article examines how, and why, two motifs known from Classical models were changed in an eclectic fashion once they had been incorporated into Roman visual culture. The motifs concerned are kalathiskos dancers, which were transformed into Victoriae, and pyrrhic dancers, which were also reinterpreted as mythological figures—the curetes.

  • 10.
    Habetzeder, Julia
    Stockholms universitet, Antikens kultur och samhällsliv.
    Graciöst vapenskrammel: Beväpnade, manliga dansare i romersk bildvärld2009Konferensbidrag (Övrigt vetenskapligt)
  • 11.
    Habetzeder, Julia
    Stockholms universitet, Humanistiska fakulteten, Institutionen för arkeologi och antikens kultur, Antikens kultur och samhällsliv.
    Graciöst vapenskrammel: Beväpnade, manliga dansare i romersk bildvärld2009Konferensbidrag (Övrigt vetenskapligt)
  • 12.
    Habetzeder, Julia
    Stockholms universitet, Humanistiska fakulteten, Institutionen för arkeologi och antikens kultur, Antikens kultur och samhällsliv.
    Intertextualitet och romersk visuell kultur: Ett nytt angreppssätt för romersk idealskulptur2013Konferensbidrag (Övrigt vetenskapligt)
    Abstract [sv]

    Projektets grundläggande forskningsfråga rör idealskulpturens roll inom den romerska världen. Sedan 1800-talets mitt har sådana skulpturer i första hand studerats som romerska kopior efter grekiska original, utifrån den kopiekritiska metoden. Men under de senaste tjugo åren har kopiekritikens dominerande ställning kritiserats upprepade gånger. Kritiken rör framför allt det faktum att metoden inte tar i beaktande skulpturernas roll inom den romerska kulturella kontexten. Men trots kritiken har inget annat angreppsätt ännu lyckats konkurrera med kopiekritiken. Detta projekt syftar till att formulera ett nytt angreppssätt för studiet av dessa fascinerande skulpturer, en metod som har en stor potential att ge nya insikter beträffande idealskulpturens plats i det romerska samhället. Det nya angreppssättet utgår ifrån konceptet intertextualitet, och det introducerar således också ett teoretiskt och tvärvetenskapligt element till den aktuella debatten om hur romerska idealskulpturer bör tolkas.

  • 13.
    Habetzeder, Julia
    Stockholms universitet, Antikens kultur och samhällsliv.
    Intertextualitet och romersk visuell kultur: Ett nytt angreppssätt för romersk idealskulptur2013Konferensbidrag (Övrigt vetenskapligt)
    Abstract [sv]

    Projektets grundläggande forskningsfråga rör idealskulpturens roll inom den romerska världen. Sedan 1800-talets mitt har sådana skulpturer i första hand studerats som romerska kopior efter grekiska original, utifrån den kopiekritiska metoden. Men under de senaste tjugo åren har kopiekritikens dominerande ställning kritiserats upprepade gånger. Kritiken rör framför allt det faktum att metoden inte tar i beaktande skulpturernas roll inom den romerska kulturella kontexten. Men trots kritiken har inget annat angreppsätt ännu lyckats konkurrera med kopiekritiken. Detta projekt syftar till att formulera ett nytt angreppssätt för studiet av dessa fascinerande skulpturer, en metod som har en stor potential att ge nya insikter beträffande idealskulpturens plats i det romerska samhället. Det nya angreppssättet utgår ifrån konceptet intertextualitet, och det introducerar således också ett teoretiskt och tvärvetenskapligt element till den aktuella debatten om hur romerska idealskulpturer bör tolkas.

  • 14.
    Habetzeder, Julia
    Uppsala universitet, Humanistisk-samhällsvetenskapliga vetenskapsområdet, Historisk-filosofiska fakulteten, Institutionen för arkeologi och antik historia, Antikens kultur och samhällsliv.
    Intertextuality and Roman visual culture: A new approach to Roman ideal sculpture2015Konferensbidrag (Övrigt vetenskapligt)
    Abstract [en]

    The aim of this project is to acquire new knowledge regarding the role of ideal sculpture in the Roman world. Since the mid-19th century, such sculptures have been studied primarily as Roman copies of Greek originals, using the method of copy criticism. During the last two decades, the dominating influence of this approach has been repeatedly criticized as it does not investigate the place of such sculptures in the Roman cultural context. Yet, no alternative approach has managed to rival that of copy criticism. This project aims to formulate a new mode of studying this fascinating material, an approach that has great potential to produce new insights into the role of ideal sculptures in Roman society. Turning to the concept of intertextuality, this project also aims to introduce a theoretical and multidisciplinary element to the current debate on how to interpret Roman ideal sculpture.

  • 15.
    Habetzeder, Julia
    Stockholms universitet, Humanistiska fakulteten, Institutionen för arkeologi och antikens kultur, Antikens kultur och samhällsliv.
    Intertextuality and Roman visual culture: A new approach to Roman ideal sculpture2014Konferensbidrag (Övrigt vetenskapligt)
    Abstract [en]

    The aim of this project is to acquire new knowledge regarding the role of ideal sculpture in the Roman world. Since the mid-19th century, such sculptures have been studied primarily as Roman copies of Greek originals, using the method of copy criticism. During the last two decades, the dominating influence of this approach has been repeatedly criticized as it does not investigate the place of such sculptures in the Roman cultural context. Yet, no alternative approach has managed to rival that of copy criticism. This project aims to formulate a new mode of studying this fascinating material, an approach that has great potential to produce new insights into the role of ideal sculptures in Roman society. Turning to the concept of intertextuality, this project also aims to introduce a theoretical and multidisciplinary element to the current debate on how to interpret Roman ideal sculpture.

  • 16.
    Habetzeder, Julia
    Stockholms universitet, Antikens kultur och samhällsliv.
    Intertextuality and Roman visual culture: A new approach to Roman ideal sculpture2014Konferensbidrag (Övrigt vetenskapligt)
    Abstract [en]

    The aim of this project is to acquire new knowledge regarding the role of ideal sculpture in the Roman world. Since the mid-19th century, such sculptures have been studied primarily as Roman copies of Greek originals, using the method of copy criticism. During the last two decades, the dominating influence of this approach has been repeatedly criticized as it does not investigate the place of such sculptures in the Roman cultural context. Yet, no alternative approach has managed to rival that of copy criticism. This project aims to formulate a new mode of studying this fascinating material, an approach that has great potential to produce new insights into the role of ideal sculptures in Roman society. Turning to the concept of intertextuality, this project also aims to introduce a theoretical and multidisciplinary element to the current debate on how to interpret Roman ideal sculpture.

  • 17.
    Habetzeder, Julia
    Stockholms universitet, Antikens kultur och samhällsliv.
    Kunst von unten? Stil und Gesellschaft in der antiken Welt von der "arte plebea" bis heute (Palilia, 27), eds. Francesco de Angelis, Jens-Arne Dickmann, Felix Pirson and Ralf von den Hoff, Deutsches Archäologisches Institut Rom. Wiesbaden 2012. 184 pp. ISBN 978-3-89500-915-02014Ingår i: Opuscula: Annual of the Swedish Institutes at Athens and Rome, ISSN 2000-0898, Vol. 7, s. 246-248Artikel, recension (Övrigt vetenskapligt)
  • 18.
    Habetzeder, Julia
    Stockholms universitet, Humanistiska fakulteten, Institutionen för arkeologi och antikens kultur, Antikens kultur och samhällsliv.
    Kunst von unten? Stil und Gesellschaft in der antiken Welt von der "arte plebea" bis heute (Palilia, 27), eds. Francesco de Angelis, Jens-Arne Dickmann, Felix Pirson and Ralf von den Hoff, Deutsches Archäologisches Institut Rom. Wiesbaden 2012. 184 pp. ISBN 978-3-89500-915-02014Ingår i: Opuscula: Annual of the Swedish Institutes at Athens and Rome, ISSN 2000-0898, Vol. 7, s. 246-248Artikel, recension (Övrigt vetenskapligt)
  • 19.
    Habetzeder, Julia
    Stockholms universitet, Humanistiska fakulteten, Institutionen för arkeologi och antikens kultur.
    Marsyas in the garden?: Small-scale sculptures referring to the Marsyas in the forum2010Ingår i: Opuscula: Annual of the Swedish Institutes at Athens and Rome, ISSN 2000-0898, Vol. 3, s. 163-178Artikel i tidskrift (Refereegranskat)
    Abstract [en]

    While studying a small-scale sculpture in the collections of the Nationalmuseum in Stockholm, I noticed that it belongs to a previously unrecognized sculpture type. The type depicts a paunchy, bearded satyr who stands with one arm raised. To my knowledge, four replicas exist. By means of stylistic comparison, they can be dated to the late second to early third centuries AD. Due to their scale and rendering they are likely to have been freestanding decorative elements in Roman villas or gardens.

    The iconography of the satyrs of the type discussed is closely related to that of a group of fountain figures. These fountain figures are believed to refer to a motif well known in Roman times: the Marsyas in the forum. In this article I argue that the satyrs of the type discussed refer as well to this once famous depiction of Marsyas.

  • 20.
    Habetzeder, Julia
    Stockholms universitet, Institutionen för arkeologi och antikens kultur.
    Marsyas in the garden?: Small-scale sculptures referring to the Marsyas in the forum2010Ingår i: Opuscula: Annual of the Swedish Institutes at Athens and Rome, ISSN 2000-0898, Vol. 3, s. 163-178Artikel i tidskrift (Refereegranskat)
    Abstract [en]

    While studying a small-scale sculpture in the collections of the Nationalmuseum in Stockholm, I noticed that it belongs to a previously unrecognized sculpture type. The type depicts a paunchy, bearded satyr who stands with one arm raised. To my knowledge, four replicas exist. By means of stylistic comparison, they can be dated to the late second to early third centuries AD. Due to their scale and rendering they are likely to have been freestanding decorative elements in Roman villas or gardens.

    The iconography of the satyrs of the type discussed is closely related to that of a group of fountain figures. These fountain figures are believed to refer to a motif well known in Roman times: the Marsyas in the forum. In this article I argue that the satyrs of the type discussed refer as well to this once famous depiction of Marsyas.

  • 21.
    Habetzeder, Julia
    Stockholms universitet, Antikens kultur och samhällsliv.
    Marsyas Unbound2014Konferensbidrag (Övrigt vetenskapligt)
    Abstract [en]

    In the presentation of the workshop "Reading emotions in ancient visual culture" the following question is posed: "Why was the agonizing sculpture of Marsyas about to be flayed so popular in the early Roman empire?" This paper will suggest an answer to this question. I wish to emphasize that there was an alternative version of the myth of Marsyas, one where he manages to escape the cruel fate that Apollo had set out for him. Instead, Marsyas settled in Italy, where his image was later to be placed in Roman fora as a symbol of liberty. I will suggest that there was a Roman tradition of depicting Marsyas "unbound" - after having escaped from Apollo and arrived in Italy. Agonizing as the depictions of the hanging Marsyas are, in a Roman context they were perhaps not necessarily seen to represent the final hours of Marsyas' life.

  • 22.
    Habetzeder, Julia
    Stockholms universitet, Humanistiska fakulteten, Institutionen för arkeologi och antikens kultur, Antikens kultur och samhällsliv.
    Marsyas Unbound2014Konferensbidrag (Övrigt vetenskapligt)
    Abstract [en]

    In the presentation of the workshop "Reading emotions in ancient visual culture" the following question is posed: "Why was the agonizing sculpture of Marsyas about to be flayed so popular in the early Roman empire?" This paper will suggest an answer to this question. I wish to emphasize that there was an alternative version of the myth of Marsyas, one where he manages to escape the cruel fate that Apollo had set out for him. Instead, Marsyas settled in Italy, where his image was later to be placed in Roman fora as a symbol of liberty. I will suggest that there was a Roman tradition of depicting Marsyas "unbound" - after having escaped from Apollo and arrived in Italy. Agonizing as the depictions of the hanging Marsyas are, in a Roman context they were perhaps not necessarily seen to represent the final hours of Marsyas' life.

  • 23.
    Habetzeder, Julia
    Stockholms universitet, Antikens kultur och samhällsliv.
    Medusa till salu i Tübingen2014Ingår i: Medusa. Svensk tidsskrift för antiken, ISSN 0349-456X, Vol. 35, nr 3, s. 49-49Artikel i tidskrift (Övrig (populärvetenskap, debatt, mm))
  • 24.
    Habetzeder, Julia
    Stockholms universitet, Humanistiska fakulteten, Institutionen för arkeologi och antikens kultur, Antikens kultur och samhällsliv.
    Medusa till salu i Tübingen2014Ingår i: Medusa. Svensk tidsskrift för antiken, ISSN 0349-456X, Vol. 35, nr 3, s. 49-49Artikel i tidskrift (Övrig (populärvetenskap, debatt, mm))
  • 25.
    Habetzeder, Julia
    Uppsala universitet, Humanistisk-samhällsvetenskapliga vetenskapsområdet, Historisk-filosofiska fakulteten, Institutionen för arkeologi och antik historia, Antikens kultur och samhällsliv.
    Opuscula. Annual of the Swedish Institutes at Athens and Rome 112018Proceedings (redaktörskap) (Refereegranskat)
  • 26.
    Habetzeder, Julia
    Stockholms universitet, Antikens kultur och samhällsliv.
    Piscina mirabilis2010Ingår i: Medusa. Svensk tidsskrift för antiken, ISSN 0349-456X, nr 3, s. 42-43Artikel i tidskrift (Övrig (populärvetenskap, debatt, mm))
  • 27.
    Habetzeder, Julia
    Stockholms universitet, Humanistiska fakulteten, Institutionen för arkeologi och antikens kultur, Antikens kultur och samhällsliv.
    Piscina mirabilis2010Ingår i: Medusa. Svensk tidsskrift för antiken, ISSN 0349-456X, nr 3, s. 42-43Artikel i tidskrift (Övrig (populärvetenskap, debatt, mm))
  • 28.
    Habetzeder, Julia
    Uppsala universitet, Humanistisk-samhällsvetenskapliga vetenskapsområdet, Historisk-filosofiska fakulteten, Institutionen för arkeologi och antik historia, Antikens kultur och samhällsliv.
    Pompejanska fantasier i nöjets tjänst2015Ingår i: Romhorisont. Tidskrift för Föreningen svenska rominstitutets vänner och Svenska institutet i Rom, ISSN 0349-5590, nr 62, s. 20-22Artikel i tidskrift (Övrig (populärvetenskap, debatt, mm))
    Abstract [sv]

    Om pompejanska influenser i 1920-talets färgglada klassicism. Texten är en återgivning av det föredrag som författaren höll på temadagen "Inspiration och ideal. Pompejanskt i Sverige under 1700-talet-1900-talet" på Konstakademien i Stockholm den 22 november 2014. Temadagen arrangerades av Föreningen svenska rominstitutets vänner, i samband med Pompejiutställningen på Millesgården.

  • 29.
    Habetzeder, Julia
    Stockholms universitet, Antikens kultur och samhällsliv.
    Recension av E. Tengström, Broar till antiken. Antikens inflytande på svenskt samhälls- och kulturliv 1780-1850, Göteborg 2014, 252 s.2014Ingår i: Medusa. Svensk tidsskrift för antiken, ISSN 0349-456X, Vol. 35, nr 4, s. 39-42Artikel, recension (Övrig (populärvetenskap, debatt, mm))
  • 30.
    Habetzeder, Julia
    Stockholms universitet, Humanistiska fakulteten, Institutionen för arkeologi och antikens kultur, Antikens kultur och samhällsliv.
    Recension av E. Tengström, Broar till antiken. Antikens inflytande på svenskt samhälls- och kulturliv 1780-1850, Göteborg 2014, 252 s.2014Ingår i: Medusa. Svensk tidsskrift för antiken, ISSN 0349-456X, Vol. 35, nr 4, s. 39-42Artikel, recension (Övrig (populärvetenskap, debatt, mm))
  • 31.
    Habetzeder, Julia
    Uppsala universitet, Humanistisk-samhällsvetenskapliga vetenskapsområdet, Historisk-filosofiska fakulteten, Institutionen för arkeologi och antik historia, Antikens kultur och samhällsliv.
    Stockholms Apollon Musagetes genom århundradena2016Ingår i: Medusa. Svensk tidsskrift för antiken, ISSN 0349-456X, ISSN 0349-456X, Vol. 37, nr 3, s. 24-33Artikel i tidskrift (Övrig (populärvetenskap, debatt, mm))
  • 32.
    Habetzeder, Julia
    Stockholms universitet, Humanistiska fakulteten, Institutionen för arkeologi och antikens kultur, Antikens kultur och samhällsliv.
    The impact of restoration: The example of "The dancing satyr" in the Uffizi2014Konferensbidrag (Övrigt vetenskapligt)
  • 33.
    Habetzeder, Julia
    Stockholms universitet, Humanistiska fakulteten, Institutionen för arkeologi och antikens kultur, Antikens kultur och samhällsliv.
    The impact of restoration: The example of the dancing satyr in the Uffizi2012Ingår i: Opuscula: Annual of the Swedish Institutes at Athens and Rome, ISSN 2000-0898, Vol. 5, s. 133-163Artikel i tidskrift (Refereegranskat)
    Abstract [en]

    The aim of this article is to show that reputed restorations may have an unexpected impact on the study of ancient sculpture. During the 17th-19th centuries a number of restored antiques where held in exceptionally high regard. One of the consequences of their renowned was the production of copies and adaptations in different scales and media. Such reproductions did not distinguish between the ancient and the restored parts of the work.

    Today these reproductions are centuries old, and in many cases their provenance has long since been forgotten. Therefore, such post-antique sculptures are easily misinterpreted as ancient. Subsequently, they are at times used as evidence of ancient sculptural production. Needless to say, this may cause flawed notions of Classical sculpture.

    The complexity of this relationship, between the ancient and the restored, is here exemplified by tracing the impact that a restored motif – “satyrs with cymbals” – has had on the study of an ancient sculpture type – the satyr attributed to “The invitation to the dance”.

  • 34.
    Habetzeder, Julia
    Stockholms universitet, Antikens kultur och samhällsliv.
    The impact of restoration: The example of "The dancing satyr" in the Uffizi2014Konferensbidrag (Övrigt vetenskapligt)
  • 35.
    Habetzeder, Julia
    Stockholms universitet, Antikens kultur och samhällsliv.
    The impact of restoration: The example of the dancing satyr in the Uffizi2012Ingår i: Opuscula: Annual of the Swedish Institutes at Athens and Rome, ISSN 2000-0898, Vol. 5, s. 133-163Artikel i tidskrift (Refereegranskat)
    Abstract [en]

    The aim of this article is to show that reputed restorations may have an unexpected impact on the study of ancient sculpture. During the 17th-19th centuries a number of restored antiques where held in exceptionally high regard. One of the consequences of their renowned was the production of copies and adaptations in different scales and media. Such reproductions did not distinguish between the ancient and the restored parts of the work.

    Today these reproductions are centuries old, and in many cases their provenance has long since been forgotten. Therefore, such post-antique sculptures are easily misinterpreted as ancient. Subsequently, they are at times used as evidence of ancient sculptural production. Needless to say, this may cause flawed notions of Classical sculpture.

    The complexity of this relationship, between the ancient and the restored, is here exemplified by tracing the impact that a restored motif – “satyrs with cymbals” – has had on the study of an ancient sculpture type – the satyr attributed to “The invitation to the dance”.

  • 36.
    Habetzeder, Julia
    Uppsala universitet, Humanistisk-samhällsvetenskapliga vetenskapsområdet, Historisk-filosofiska fakulteten, Institutionen för arkeologi och antik historia, Antikens kultur och samhällsliv.
    The propriety of decorative luxury possessions: Reflections on the occurrence of kalathiskos dancers and pyrrhic dancers in Roman visual culture2015Ingår i: Own and be owned: Archaeological approaches to the concept of possession / [ed] Alison Klevnäs; Charlotte Hedenstierna-Jonson, Stockholm: Stockholm University, Department of Archaeology and Classical Studies , 2015, s. 93-108Kapitel i bok, del av antologi (Övrigt vetenskapligt)
    Abstract [en]

    In a well-known passage of his De architectura (written during thelast decades BC) Vitruvius describes the Roman domus (house) as aself-evident part of the public image of its owner. To Vitruvius, thehouse is not a private sphere, at least not in the sense we like to thinkof our homes today. Instead, Vitruvius emphasizes that the domusserves as the backdrop for at least a part of its owner’s public life,and as such its layout and appearance has a bearing on the owner’spublic persona (Vitr. De arch. 6.5.1-3; Granger 1934:36–39). But itwas not just the appearance of the house itself that was important inthis regard: there was a similar relationship between the home-ownerand the possessions that he chose to put on display in his house.

    During the Late Republican era (133–31 BC), many members ofthe Roman elite set out to acquire art collections to be displayed intheir homes. This paper shows that the decorative luxury possessionsacquired had a power and a capacity of their own. The owner’s tasteand personality were established through the acquisition and displayof these collections.

    To illustrate this point, two motifs are discussed: kalathiskos dancersand pyrrhic dancers (fig. 1). Within the Roman cultural context,these motifs are primarily represented on decorative luxury items.The paper aims to explore the occurrence of the motifs and to explainwhy pyrrhic dancers were depicted less often than kalthiskos dancers(fig. 2), and to relate this circumstance to the agency of decorativeluxury possessions within the Roman cultural context.

1 - 36 av 36
RefereraExporteraLänk till träfflistan
Permanent länk
Referera
Referensformat
  • apa
  • ieee
  • modern-language-association-8th-edition
  • vancouver
  • Annat format
Fler format
Språk
  • de-DE
  • en-GB
  • en-US
  • fi-FI
  • nn-NO
  • nn-NB
  • sv-SE
  • Annat språk
Fler språk
Utmatningsformat
  • html
  • text
  • asciidoc
  • rtf