Acknowledgments

Elsner, Jaś

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Acknowledgments

Jaś Elsner

Roman Eyes: Visuality and Subjectivity in Art and Text

THIS BOOK IS THE RESULT of a series of essays on related themes written over the last fifteen years. Most have been published earlier, in different forms; all those have been revised here. Chapter 4 and the Epilogue have been written specially for this volume—although I have been...

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Jaś Elsner

PublisherPrinceton University Press

Stable URL: https://aaeportal.com/?id=-32008

Acknowledgments

THIS BOOK IS THE RESULT of a series of essays on related themes written over the last fifteen years. Most have been published earlier, in different forms; all those have been revised here. Chapter 4 and the Epilogue have been written specially for this volume—although I have been persuaded to publish sections of chapter 4, in the course of rather different arguments, elsewhere as well. I thank the original publishers in detail below. Many people have helped me as I have worked on these studies—too many to name individually, especially as one might easily but invidiously forget someone, given the length of time over which this project has evolved. But my gratitude is especially due to Froma Zeitlin, who is to be blamed for the idea of this book; to my classical colleagues at Corpus Christi College and my art historical colleagues in Chicago over the years, on whom quite a bit of this has from time to time been inflicted; and to my students at the Courtauld, Oxford, and Chicago, who have never let me get away without at least trying to make myself clear.

For their help and advice in the complex and arduous business of getting hold of photographs, I am particularly grateful to Lucinda Dirven, Milette Gaifman, Ted Kaizer, Roger Ling, Katerina Lorenz, Marlia Mango, Michael Padgett, Verity Platt, Susan Walker, Roger Wilson, Stephanie Wyler, and the photographic services of the British Museum and of the German Archaeological Institute in Rome. Ian Cartwright has been wonderful and indefatigable in his help with the digitizing of images. The Charles Oldham Fund at Corpus has generously supported the costs of reproducing, digitizating, and publishing these images. Thanks are due also to a number of providers of photographs for their willingness to waive reproduction fees in the case of a scholarly publication in the wider interest of academic research. This is a far-sighted policy which deserves applause, especially at a difficult time financially for public institutions. So I am happy to mention the British Museum, the Yale University Art Gallery, the Cabinet des Médailles at the Bibliothèque Nationale in Paris, the German Archaeological Institute in Rome, and the Conway Library.

Finally, I am most grateful to the editorial team at Princeton University Press for their help and care with my manuscript. In particular, I should mention Ian Malcolm, Meera Vaidyanathan, Lys Ann Weiss, and Elizabeth Gilbert.

Chapter 1 originally appeared as “Between Mimesis and Divine Power: Visuality in the Graeco-Roman World,” in Robert S. Nelson, ed., Visuality before and beyond the Renaissance (Cambridge, 2000), 45–69. Chapter 2 appeared first as “Image and Ritual: Reflections on the Graeco-Roman Appreciation of Art,” Classical Quarterly 46 (1996): 515–31. Chapter 3 appeared initially as “Ancient Viewing and Modern Art History,” METIS 13 (1998): 417–37. Sections of chapter 4 have appeared in “Art and Text,” in S. Harrison, ed., The Blackwell Companion to Latin Literature (Oxford, 2005), 300–318, and in “Gazing in Ekphrasis and in Roman Art,” Classical Philology, forthcoming. Chapter 5 originally appeared as “Visual Mimesis and the Myth of the Real: Ovid’s Pygmalion as Viewer,” Ramus 20 (1991): 154–68. Sections of chapter 6 have appeared in “Naturalism and the Erotics of the Gaze: Intimations of Narcissus,” in N. B. Kampen, ed., Sexuality in Ancient Art (Cambridge, 1996), 247–61, and in “Caught in the Ocular: Visualising Narcissus in the Roman World,” in L. Spaas, ed., Reflections of Narcissus (Oxford, 2000), 89–110. The substance of chapter 7 appeared as “Seductions of Art: Encolpius and Eumolpus in a Neronian Picture Gallery,” Proceedings of the Cambridge Philological Society 39 (1993): 30–47. Chapter 8 appeared as “Visualising Woman in Late Antique Rome: The Projecta Casket,” in C. Entwhistle, ed., Through a Glass Brightly: Studies in Byzantine and Medieval Art and Archaeology Presented to David Buckton (Oxford, 2003), 22–36. Chapter 9 appeared as “The Origins of the Icon: Pilgrimage, Religion, and Visual Culture in the Roman East as ‘Resistance’ to the Centre,” in S. E. Alcock, ed., The Roman Empire in the East (Oxford, 1997), 178–99. Chapter 10 appeared as “Cultural Resistance and the Visual Image: The Case of Dura Europos,” Classical Philology 96 (2001): 269–304.

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