By Philip Rousseau
An available and authoritative evaluation shooting the power and variety of scholarship that exists at the transformative period of time often called past due antiquity.
- Provides a vital evaluation of present scholarship on past due antiquity вЂ“ from among the accession of Diocletian in advert 284 and the tip of Roman rule within the Mediterranean
- Comprises 39 essays from many of the world's optimal students of the period
- Presents this once-neglected interval as an age of strong transformation that formed the trendy global
- Emphasizes the important significance of faith and its reference to monetary, social, and political life
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Additional info for A Companion to Late Antiquity
1187), and Niketas Choniates (AD 1155/7–1217). Ioannes Zonaras composed a universal chronicle sometime after AD 1118 (see Grigoriadis 1998). In his introduction, he surprisingly declares that his historiography will not be characterized by precision (akribeia); rather, his text will be varied, while its author (whom Zonaras calls ‘‘its father’’) will assume the voices and styles of others (Epitomeˆ Historioˆn 1–6). By such a statement, Zonaras wishes to ward off the possible criticism that his work is not precisely truthful by pointing out that the truth of his history depends upon the truth of his sources.
Such authors as John of Damascus, Theodore of Stoudios, and Photius himself construct highly complex theories of the image. The question that these authors go to great pains to answer is how images can afford their viewer a relation with, perception or cognition of, the persons depicted in iconic representation. For them, the question is about form, the material side of representation (Barber 2002). Not surprisingly, these authors approach the debate by turning to late antique theological aesthetics (Demoen 1998, 2000; Louth 2006).
Entirely shocked, the narrator first tries to hide the body, then declares the event to the authorities. People gather amazed at the miraculous event (again, thaumazein). ’’ As the story suggests, what collapses upon the head of the unfortunate Byzantine viewer is not simply a statue. It is also a system of knowledge that collapses, a method of viewing, and a mode of representation. By the end of the story, explanatory narrative (historia) has been replaced by truth (aleˆtheia); truth that is now based on textual authority from the past, to be interpreted by an authority in the present and 20 Stratis Papaioannou enforced by imperial power.
A Companion to Late Antiquity by Philip Rousseau