The Oxford Handbook of Byzantine Studies (Oxford Handbooks) by Elizabeth Jeffreys, John Haldon, Robin Cormack

By Elizabeth Jeffreys, John Haldon, Robin Cormack

The Oxford guide of Byzantine stories offers discussions through prime specialists on all major facets of this various and fast-growing box. The Oxford guide of Byzantine reviews offers with the heritage and tradition of the Byzantine Empire, the jap 1/2 the overdue Roman Empire, from the fourth to the fourteenth century. Its centre was once the town previously often called Byzantium, refounded as Constantinople in 324 CE, the present-day Istanbul. below its emperors, patriarchs, and all-pervasive forms Byzantium constructed a particular society: Greek in language, Roman in criminal method, and Christian in faith. Byzantiums effect within the eu center a long time is difficult to over-estimate, as a bulwark opposed to invaders, as a meeting-point for exchange from Asia and the Mediterranean, as a dad or mum of the classical literary and inventive history, and as a author of its personal very good inventive kind.

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MORAVCSIK, GY. 1976. Einfuhrung in die Byzantinistik (Darmstadt) (trans, of Bevezetes a bizantinologidba (Budapest, 1966)). MULLETT, M. 1990. ', BMGS14: 233-43. 1997. Theophylact ofOchrid: Reading the Letters of a Byzantine Archbishop (Aldershot). NELSON, R . ) 2000. Visuality Before and Beyond the Renaissance: Seeing as Others Saw (Cambridge). OBOLENSKY, D. 1971. The Byzantine Commonwealth: Eastern Europe 500-1453 (London). OSTROGORSKY, G. 1968. History of the Byzantine State, trans. J. Hussey (Oxford): 1-21.

In Britain, John Ruskin was a prime mover through his best-selling book The Stones of Venice (1851-3) and his critical promotion of the church of San Marco; and consequently interest in Byzantine art was advanced initially through the study of architecture, thereby avoiding the negative Enlightenment attitudes of Gibbon. Influential on Ruskin was the traveller Robert Curzon (1849: 34-40), who in turn owed many of his attitudes about the 'intellectual' and passionless' character of Byzantine art to A.

For here the exigencies of cultural politics, ethno-history, the continued role of the Orthodox Church and its particular view of the Byzantine past, along with contemporary national political issues of identity and relations with neighbouring states and cultures, have all combined to affect the ways in which Byzantium has been appropriated, studied, and re-presented to the indigenous consumer of recent and contemporary Greek culture. The internal debate has in turn had its effects upon the external readership, so that both a romantic Philhellenic and an anti-Hellenic perspective can be detected in the writings of non-Greek Byzantinists (Cameron 1992).

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