Bøger af Emily Gowers

A free ebook version of this title is available through Luminos, University of California Press's Open Access publishing program. Visit www.luminosoa.org to learn more. Why are the small and unimportant relics of Roman antiquity often the most enduring, in both material form and our affections? Through close encounters with minor things such as insects, brief lives, quibbles, irritants, and jokes, Emily Gowers provocatively argues that much of what the Romans dismissed as superfluous or peripheral in fact took up immense imaginative space. There is much to learn from what didn't or shouldn't matter. It was often through the small stuff that the Romans most acutely probed and challenged their society's overarching values and priorities and its sense of proportion and justice. By marking the spots where the apparently pointless becomes significant, this book radically adjusts our understanding of the Romans and their world, as well as  our own minor feelings and intimate preoccupations.

The story of Maecenas and his role in the evolution and continuing legacy of ancient Roman poetry and culture An unelected statesman with exceptional powers, a patron of the arts and a luxury-loving friend of the emperor Augustus: Maecenas was one of the most prominent and distinctive personalities of ancient Rome. Yet the traces he left behind are unreliable and tantalizingly scarce. Rather than attempting a conventional biography, Emily Gowers shows in Rome's Patron that it is possible to tell a different story, one about Maecenas's influence, his changing identities and the many narratives attached to him across two millennia. Rome's Patron explores Maecenas's appearances in the central works of Augustan poetry written in his name--Virgil's Georgics, Horace's Odes and Propertius's elegies--and in later works of Latin literature that reassess his influence. For the Roman poets he supported, Maecenas was a mascot of cultural flexibility and innovation, a pioneer of gender fluidity and a bearer of imperial demands who could be exposed as a secret sympathizer with their own values. For those excluded from his circle, he represented either favouritism and indulgence or the lost ideal of a patron in perfect collaboration with the authors he championed. As Gowers shows, Maecenas had and continues to have a unique cachet--in the fantasies that still surround the gardens, buildings and objects so tenuously associated with him; in literature, from Ariosto and Ben Johnson to Phillis Wheatley and W. B. Yeats; and in philanthropy, where his name has been surprisingly adaptable to more democratic forms of patronage.