Caroline Vout
Biographic Data
| ID | 3095340 |
|---|---|
| NAME | Caroline Vout |
| GIVEN NAMES | Caroline |
| FAMILY NAME | Vout |
| SIGNATURE | VOUT C |
| AFFILIATIONS | Christ University |
| ORCID | 0000-0001-7811-3257 |
| VERIFIED | No |
| TOTAL WORKS | 23 |
| TOTAL CITATIONS | 12 |
| AUTHOR COUNT | 22 |
| EDITOR COUNT | 1 |
| FIRST PUBLICATION YEAR | 2000 |
| LATEST PUBLICATION YEAR | 2025 |
| H-INDEX | 2 |
The Politics of Immorality in Ancient Rome
The question this book addresses is not how immoral the ancient Romans were, but why the literature they produced is so preoccupied with immorality. The modern image of immoral Rome derives from ancient accounts which are largely critical rather than celebratory. Far from being empty commonplaces, these accusations constituted a powerful discourse through which Romans negotiated conflicts and tensions in their social and political order. This stu…
Classical Art: A Life History from Antiquity to the Present
Pater’s ‘Apollo in Picardy’
As the ‘finest’ of Pater’s imaginary portraits, ‘Apollo in Picardy’ is also one of the most studied. Rather than add to this scholarship by chasing down yet more of its allusions to the classical, this chapter revels in its complex and careering fictions to examine instead its contribution to, and definition of, classicism. Doing this demands bringing these fictions into dialogue with Pater’s work on Greek sculpture, and its classicism into dialo…
Art and the Decadent City
Art and Religion in Ancient Greece and Rome
One of the challenges shared across cultures and faiths is the intangible, ineffable nature of the divine. One problematic, yet theologically productive, solution to this problem is to embody the divine in sculpture and painting; another is to seek divine aid and attest to divine presence by making votive offerings. In the absence of a sacred text, it was sculptural and graphic representation of the divine that made sanctuaries and temples in Gre…
The end of the “Greek Revolution”
Roman art has undergone something of a Renaissance in recent years. Condemned by Johann Joachim Winckelmann as “second rate,” the sculpture of the Roman Empire now rejoices in this “secondary” status, appreciated rather than denigrated for the various ways in which its reliance on, and (we now realize) often witty appropriation of, Greek cultural production helped to define classical style. But “the classical” in classicism remains enigmatic, wit…
Tiberius and the Invention of Succession
Epic Visions: Visuality in Greek and Latin Epic and its Reception
This wide-ranging, interdisciplinary collection explores different ways of visualising Greek and Roman epic from Homer to Statius, in both ancient and modern culture. The book presents new perspectives on Homer, Virgil, Ovid, Lucan, Valerius Flaccus and Statius, and covers the re-working of epic matter in tragedy, opera, film, late antique speeches of praise, story-boarding, sculpture and wall-painting. The chapters use a variety of methods to ad…
Love
Ancient historians have a problem with love. First, there is the semantic confusion to contend with: the modern term covers a multitude of sins, from the visceral to the euphemistic. What are we are talking about here? Love of God, or love of ice‐cream? The Greeks and Romans had a range of words for “love” and would have found this overlap peculiar. But the existence of a bigger menu does not render each of them less tantalizing, and it can make …
Nudity
Nudity is one of the greatest legacies of Classical Antiquity.
Rome, Seven Hills
Rome's seven hills are erosional segments of a plateau east of the River Tiber and consist mainly of volcanic tuff deposits from eruptions in the Alban Hills.
Treasure, not trash: The Disney sculpture and its place in the history of collecting
In 1850 John Disney presented the Fitzwilliam Museum in Cambridge with eighty-three pieces of Greek and Roman sculpture. For almost a century, these sculptures had been displayed at The Hyde in Ingatestone, Essex, a house which Disney’s father (also John Disney) inherited from Thomas Brand Hollis who had begun the collection with his friend and fellow radical, Thomas Hollis. This article draws on letters and catalogues, some of them annotated by …
Unfinished Business: Re-viewing Medea in Roman Painting
This chapter examines the Medea of Roman painting. In some senses, this constitutes a crazy editorial decision: gems and sculpture, sarcophagi in particular, are a crucial part of the visual culture that pulls and pushes against text and theatre. But in other senses, a two-dimensional focus offers peculiar challenges that situate Medea firmly within the domestic sphere, in cubicula and peristyles; and yet also beyond this sphere. Unlike freestand…
From the ancient world to world art
This short position paper interrogates the weight of the word ‘art’ in the title ‘World Art’ and asks us to think harder about the differences between Art History and Comparative History. Written by a Classicist, it takes Greek and Roman art as its springboard
Popular Culture in Ancient Rome
J. Toner, Cambridge, Polity Press, 2009, vii+253 pp., £16.99 (paperback), ISBN 978-0-7456-4310-6 It is as hard to define popular culture as it is popular history. Literary agents are forever urging
Hugh Last Fellowship
An abstract is not available for this content so a preview has been provided. Please use the Get access link above for information on how to access this content
Laocoon's Children and the Limits of Representation
A Revolution in Roman History
Whether or not Syme made a convincing case for revolution at Rome, his Roman Revolution did not effect a revolution in Roman history. To be sure, his choice of where to start and where to end his discussion was unorthodox (if orthodoxy was the old edition of the Cambridge Ancient History or Rice Holmes or the periodization of Oxford Greats), but his relentless focus on individual political actors and their relations with one another differs from …
Hadrian, Hellenism, and the Social History of Art
Hadrian, Hellenism, and the Social History ofArt CAROLINE VOUT i. all greek to me A XIlS a classicist, my point of departure in this essay inArt History is the Roman Empire and the cultural production of the second century ce, the "Second Sophis tic." After centuries of being used and abused by the con quering Romans, Greek culture undergoes a Renaissance in this period?so much so that elites up and down the Empire advertise and bolster their pre…
Representing the emperor
Roman historians rarely have more fun than when representing the emperor. Emperors are not like the rest of Rome's population. Primus inter pares or “first among equals” they may be, but they are still first in authority or princeps . They are also candidates for deification. For their primacy to be recognized, they must appear exceptional ( eximius ), different from the senators, in tune with them, but “super-human.” This is a delicate balance a…
Winckelmann and Antinous
The credit for inventing the scientific study of Greco-Roman sculpture still belongs to the German scholar, Johann Joachim Winckelmann. The reason for this, the Geschichte der Kunst des Alterthums or History of the Art of Antiquity , was first published in Dresden in 1764 and supplemented in 1767 by the Anmerkungen über die Geschichte der Kunst des Alterthums or Further Remarks . So important was the project that Winckelmann was revising it when …
Antinous, Archaeology and History
Antinous was the young, male lover of Hadrian. His premature death in A.D. 130 led to an oddly extravagant commemoration. Post-Renaissance he became one of the most collectable portrait types. This article re-examines the corpus of portraits as it is currently configured. Its primary aim is not to exclude or add pieces but to question the criteria on which inclusion and exclusion are based. This questioning cuts to the heart of issues of identifi…
Rome Scholarships: Will the real Antinous please step forward? A case-study in categorizing ancient sculpture
An abstract is not available for this content so a preview has been provided. Please use the Get access link above for information on how to access this content
Winckelmann and Antinous
The credit for inventing the scientific study of Greco-Roman sculpture still belongs to the German scholar, Johann Joachim Winckelmann. The reason for this, the Geschichte der Kunst des Alterthums or History of the Art of Antiquity , was first published in Dresden in 1764 and supplemented in 1767 by the Anmerkungen über die Geschichte der Kunst des Alterthums or Further Remarks . So important was the project that Winckelmann was revising it when …
A Revolution in Roman History
Whether or not Syme made a convincing case for revolution at Rome, his Roman Revolution did not effect a revolution in Roman history. To be sure, his choice of where to start and where to end his discussion was unorthodox (if orthodoxy was the old edition of the Cambridge Ancient History or Rice Holmes or the periodization of Oxford Greats), but his relentless focus on individual political actors and their relations with one another differs from …
Antinous, Archaeology and History
Antinous was the young, male lover of Hadrian. His premature death in A.D. 130 led to an oddly extravagant commemoration. Post-Renaissance he became one of the most collectable portrait types. This article re-examines the corpus of portraits as it is currently configured. Its primary aim is not to exclude or add pieces but to question the criteria on which inclusion and exclusion are based. This questioning cuts to the heart of issues of identifi…
Classical Art: A Life History from Antiquity to the Present
The end of the “Greek Revolution”
Roman art has undergone something of a Renaissance in recent years. Condemned by Johann Joachim Winckelmann as “second rate,” the sculpture of the Roman Empire now rejoices in this “secondary” status, appreciated rather than denigrated for the various ways in which its reliance on, and (we now realize) often witty appropriation of, Greek cultural production helped to define classical style. But “the classical” in classicism remains enigmatic, wit…
Unfinished Business: Re-viewing Medea in Roman Painting
This chapter examines the Medea of Roman painting. In some senses, this constitutes a crazy editorial decision: gems and sculpture, sarcophagi in particular, are a crucial part of the visual culture that pulls and pushes against text and theatre. But in other senses, a two-dimensional focus offers peculiar challenges that situate Medea firmly within the domestic sphere, in cubicula and peristyles; and yet also beyond this sphere. Unlike freestand…
Hadrian, Hellenism, and the Social History of Art
Hadrian, Hellenism, and the Social History ofArt CAROLINE VOUT i. all greek to me A XIlS a classicist, my point of departure in this essay inArt History is the Roman Empire and the cultural production of the second century ce, the "Second Sophis tic." After centuries of being used and abused by the con quering Romans, Greek culture undergoes a Renaissance in this period?so much so that elites up and down the Empire advertise and bolster their pre…
Rome Scholarships: Will the real Antinous please step forward? A case-study in categorizing ancient sculpture
An abstract is not available for this content so a preview has been provided. Please use the Get access link above for information on how to access this content
Antinous, Archaeology and History
Antinous was the young, male lover of Hadrian. His premature death in A.D. 130 led to an oddly extravagant commemoration. Post-Renaissance he became one of the most collectable portrait types. This article re-examines the corpus of portraits as it is currently configured. Its primary aim is not to exclude or add pieces but to question the criteria on which inclusion and exclusion are based. This questioning cuts to the heart of issues of identifi…
Winckelmann and Antinous
The credit for inventing the scientific study of Greco-Roman sculpture still belongs to the German scholar, Johann Joachim Winckelmann. The reason for this, the Geschichte der Kunst des Alterthums or History of the Art of Antiquity , was first published in Dresden in 1764 and supplemented in 1767 by the Anmerkungen über die Geschichte der Kunst des Alterthums or Further Remarks . So important was the project that Winckelmann was revising it when …
Representing the emperor
Roman historians rarely have more fun than when representing the emperor. Emperors are not like the rest of Rome's population. Primus inter pares or “first among equals” they may be, but they are still first in authority or princeps . They are also candidates for deification. For their primacy to be recognized, they must appear exceptional ( eximius ), different from the senators, in tune with them, but “super-human.” This is a delicate balance a…
Laocoon's Children and the Limits of Representation
A Revolution in Roman History
Whether or not Syme made a convincing case for revolution at Rome, his Roman Revolution did not effect a revolution in Roman history. To be sure, his choice of where to start and where to end his discussion was unorthodox (if orthodoxy was the old edition of the Cambridge Ancient History or Rice Holmes or the periodization of Oxford Greats), but his relentless focus on individual political actors and their relations with one another differs from …
Hadrian, Hellenism, and the Social History of Art
Hadrian, Hellenism, and the Social History ofArt CAROLINE VOUT i. all greek to me A XIlS a classicist, my point of departure in this essay inArt History is the Roman Empire and the cultural production of the second century ce, the "Second Sophis tic." After centuries of being used and abused by the con quering Romans, Greek culture undergoes a Renaissance in this period?so much so that elites up and down the Empire advertise and bolster their pre…
From the ancient world to world art
This short position paper interrogates the weight of the word ‘art’ in the title ‘World Art’ and asks us to think harder about the differences between Art History and Comparative History. Written by a Classicist, it takes Greek and Roman art as its springboard
Popular Culture in Ancient Rome
J. Toner, Cambridge, Polity Press, 2009, vii+253 pp., £16.99 (paperback), ISBN 978-0-7456-4310-6 It is as hard to define popular culture as it is popular history. Literary agents are forever urging
Hugh Last Fellowship
An abstract is not available for this content so a preview has been provided. Please use the Get access link above for information on how to access this content
Love
Ancient historians have a problem with love. First, there is the semantic confusion to contend with: the modern term covers a multitude of sins, from the visceral to the euphemistic. What are we are talking about here? Love of God, or love of ice‐cream? The Greeks and Romans had a range of words for “love” and would have found this overlap peculiar. But the existence of a bigger menu does not render each of them less tantalizing, and it can make …
Nudity
Nudity is one of the greatest legacies of Classical Antiquity.
Rome, Seven Hills
Rome's seven hills are erosional segments of a plateau east of the River Tiber and consist mainly of volcanic tuff deposits from eruptions in the Alban Hills.
Treasure, not trash: The Disney sculpture and its place in the history of collecting
In 1850 John Disney presented the Fitzwilliam Museum in Cambridge with eighty-three pieces of Greek and Roman sculpture. For almost a century, these sculptures had been displayed at The Hyde in Ingatestone, Essex, a house which Disney’s father (also John Disney) inherited from Thomas Brand Hollis who had begun the collection with his friend and fellow radical, Thomas Hollis. This article draws on letters and catalogues, some of them annotated by …
Unfinished Business: Re-viewing Medea in Roman Painting
This chapter examines the Medea of Roman painting. In some senses, this constitutes a crazy editorial decision: gems and sculpture, sarcophagi in particular, are a crucial part of the visual culture that pulls and pushes against text and theatre. But in other senses, a two-dimensional focus offers peculiar challenges that situate Medea firmly within the domestic sphere, in cubicula and peristyles; and yet also beyond this sphere. Unlike freestand…
Tiberius and the Invention of Succession
Epic Visions: Visuality in Greek and Latin Epic and its Reception
This wide-ranging, interdisciplinary collection explores different ways of visualising Greek and Roman epic from Homer to Statius, in both ancient and modern culture. The book presents new perspectives on Homer, Virgil, Ovid, Lucan, Valerius Flaccus and Statius, and covers the re-working of epic matter in tragedy, opera, film, late antique speeches of praise, story-boarding, sculpture and wall-painting. The chapters use a variety of methods to ad…
The end of the “Greek Revolution”
Roman art has undergone something of a Renaissance in recent years. Condemned by Johann Joachim Winckelmann as “second rate,” the sculpture of the Roman Empire now rejoices in this “secondary” status, appreciated rather than denigrated for the various ways in which its reliance on, and (we now realize) often witty appropriation of, Greek cultural production helped to define classical style. But “the classical” in classicism remains enigmatic, wit…
Art and Religion in Ancient Greece and Rome
One of the challenges shared across cultures and faiths is the intangible, ineffable nature of the divine. One problematic, yet theologically productive, solution to this problem is to embody the divine in sculpture and painting; another is to seek divine aid and attest to divine presence by making votive offerings. In the absence of a sacred text, it was sculptural and graphic representation of the divine that made sanctuaries and temples in Gre…
Pater’s ‘Apollo in Picardy’
As the ‘finest’ of Pater’s imaginary portraits, ‘Apollo in Picardy’ is also one of the most studied. Rather than add to this scholarship by chasing down yet more of its allusions to the classical, this chapter revels in its complex and careering fictions to examine instead its contribution to, and definition of, classicism. Doing this demands bringing these fictions into dialogue with Pater’s work on Greek sculpture, and its classicism into dialo…
Art and the Decadent City
Classical Art: A Life History from Antiquity to the Present
The Politics of Immorality in Ancient Rome
The question this book addresses is not how immoral the ancient Romans were, but why the literature they produced is so preoccupied with immorality. The modern image of immoral Rome derives from ancient accounts which are largely critical rather than celebratory. Far from being empty commonplaces, these accusations constituted a powerful discourse through which Romans negotiated conflicts and tensions in their social and political order. This stu…
Classical Antiquity Studies (17 works) · Art (15 works) · History (13 works) · History (8 works) · Art history (7 works) · Literature (7 works) · Visual arts (7 works) · Classics (6 works) · Ancient history (5 works) · Computer Science (5 works)