Verity Platt
Biographic Data
| ID | 389144 |
|---|---|
| NAME | Verity Platt |
| GIVEN NAMES | Verity |
| FAMILY NAME | Platt |
| SIGNATURE | PLATT V |
| AFFILIATIONS | Cornell University |
| VERIFIED | No |
| TOTAL WORKS | 22 |
| TOTAL CITATIONS | 62 |
| AUTHOR COUNT | 21 |
| EDITOR COUNT | 1 |
| FIRST PUBLICATION YEAR | 2002 |
| LATEST PUBLICATION YEAR | 2022 |
| H-INDEX | 3 |
Undisciplining the university through shared purpose, practice, and place
Interdisciplinary scholarship and education remains elusive at modern universities, despite efforts at both the individual and institutional levels. The objective of this paper is to identify the main motivations that bring different disciplines together in joint research and identify some of the obstacles to that coming together. Here we propose that shared purpose (why do I participate?), practice (how do we interact?), and place (where do we i…
The Seal of Polycrates: A Discourse on Discourse Channel Conditions
This chapter explores Kittler’s claim that media provide models and metaphors for the senses, as well as ‘gadgets’ for conceptualizing the soul. Drawing on the role of the seal-ring ( daktylios ), in Greek philosophical models of sense perception, memory, and knowledge acquisition, together with examples of classical intaglios, it explores how practices of sealing were fundamental to the ‘cultural techniques’ ( Kulturtechniken ) through which Gre…
Re-membering the Belvedere Torso: Ekphrastic Restoration and the Teeth of Time
What is the relationship between art history and its objects? Responding to Jaś Elsner’s claim that art-historical writing is inevitably ekphrastic, this essay revisits a site of intense disciplinary anxiety—Johann Joachim Winckelmann’s 1759 description of the Belvedere Torso and its revised version in his 1764 History of Ancient Art. Description has been cast as the “scapegoat” (or pharmakos) of Winckelmann’s art history—that which must be excis…
De l’original perdu à la série: Nouvelles approches des multiples gréco-romains
Il s’agit d’analyser dans cet essai les approches récentes de la recherche sur la « copie romaine » au sein de l’université et des musées. Tout en retraçant le parcours effectué depuis les pratiques de la Kopienkritik (qui privilégiait l’original grec perdu) jusqu’à la compréhension postmoderniste de la pratique romaine de l’imitation (qui met en évidence la dimension créative de la reproduction), il s’agit de s’intéresser pour finir au xxie sièc…
Dossier : Place aux objets !: Présentification et vie des artefacts en Grèce ancienne
Dossier : Et si, par-delà la dichotomie classique sujet-objet, les artefacts étaient appréhendés comme des agents voire des événements, et considérés dans leur rapport au temps et à l’espace ? Ce dossier propose l’étude des phénomènes, dispositifs et contextes par lesquels les objets adviennent en Grèce ancienne. Varia : Balles de fronde, noms barbares : la puissance des mots. Imaginaires du passé : la guerre lélantine, la figure de Solon. Le rôl…
Silent Bones and Singing Stones
This chapter investigates the relationship between materiality and textuality in the Hellenistic period, by focusing on real and imagined tombs of poets. At a time not only of feverish activity when literary texts were being collected, copied, catalogued, canonized, and archived, but also when contemporary poetry was carefully situating itself in relation to an emerging library culture, and, what is more, when texts were being reframed and circul…
Double Vision: Epiphanies of the Dioscuri in Classical Antiquity
The Dioscuri – Castor and Pollux – are among the most epiphanic of gods, frequently appearing in battle or to sailors struggling at sea. On Chios, a festival called the Theophania was founded in the third century BC to commemorate an epiphany of the twin gods. Indeed, their appearance at the Sicilian battle of the River Sagra c. 540 BC was so well known in Greek – and Roman – culture that it was invoked as a proverbial example of epiphanic manife…
Introduction: From Grecian Urn to Embodied Object
Orphaned Objects: The Phenomenology of the Incomplete in Pliny's Natural History
Framing the Visual in Greek and Roman Antiquity: An Introduction
The Frame in Classical Art is a book about the limits of visual representation. Contributors have been invited to explore the boundaries of what can be seen – the edges that defined, demarcated and contained the field of vision in ancient Greece and Rome. While the chapters that follow vary widely across time and place, all are structured around a common cultural histor-ical concern: to analyse the literal frames and metaphorical frameworks that …
Getting to grips with classical art
This chapter focuses on ancient sculpture, exploring how touch could be exploited as an epistemological "touchstone" for probing the ontological status of statues: the three-dimensional forms of classical naturalism. It argues that both encouraged and responded to the fantasy of a sculpted object transformed into a tangible, touching and conscious subject. The chapter turns from life-size sculpture to miniature engraved gems: it surveys how the v…
The Frame in Classical Art: A Cultural History
The frames of classical art are often seen as marginal to the images that they surround. Traditional art history has tended to view framing devices as supplementary 'ornaments'. Likewise, classical archaeologists have often treated them as tools for taxonomic analysis. This book not only argues for the integral role of framing within Graeco-Roman art, but also explores the relationship between the frames of classical antiquity and those of more m…
The artist as anecdote: Creating creators in ancient texts and modern art history
In 2007, the Musée du Louvre devoted an exhibition to the fourth-century BC Greek sculptor Praxiteles that gathered together important evidence for famed works such as his Aphrodite of Knidos and Apollo Sauroktonos. Unlike conventional shows devoted to the work of single artists, the Louvre's curators were faced with a critical problem, for despite Praxiteles’ renown, not a single object survives that can be securely attributed to his hand. Inste…
Facing the Gods
"This is the first history of epiphany as both a phenomenon and a cultural discourse within the Graeco-Roman world. It explores divine manifestations and their representations not only in art but also in literary, historical and epigraphic accounts, and sets the cultural analysis of this unfamiliar conceptual phenomenon within a historical framework that explores its development from the archaic period to the Roman Empire. In particular, a surpri…
The Matter of Classical Art History
Though foundational to the study of art history, Greco-Roman visual culture is often sidelined by the modern, and overshadowed by its own cultural and intellectual reception. Recent scholarship, however, has meticulously unpacked the discipline's formative narratives, while building on archaeological and literary studies in order to locate its objects of analysis more precisely within the dynamic cultural frameworks that produced them, and that w…
Agamemnon’s grief: On the Limits of Expression in Roman Rhetoric and Painting
A summary 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.
Likeness and likelihood in classical Greek art
A summary 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.
Framing the dead on roman sarcophagi
Art History in the Temple
This paper tackles a prime site of contestation in the struggle to understand Greco-Roman notions of "art"—that of religion. The adoption of connoisseurial practices such as collecting and art-history writing in the Hellenistic period has often been yoked to a narrative of increasing secularization. Yet a broad range of sculpture, ekphrastic poetry and epigraphy demonstrates that art-historical erudition and the scholarly apparatus of catalog and…
Making an Impression: Replication and the Ontology of the Graeco‐roman Seal Stone
The debate on replication in ancient art has traditionally concentrated upon Roman ‘copies’ of famous Greek sculptures and paintings. This article explores a different, but no less significant, kind of replication – the use of intaglio gems as seals to create wax impressions. The mechanical transmission of a glyptic image from one medium to another played an important role in Graeco‐Roman society, conferring authority upon the seal as an individu…
The Archaeology of Religious Hatred in the Roman and Early Medieval World Sauer, Eberhard
"The Archaeology of Religious Hatred in the Roman and Early Medieval World Sauer, Eberhard." Material Religion, 1(2), pp. 270–271
Viewing, Desiring, Believing: Confronting the divine in a Pompeian house
This paper explores the interrelationships between a set of Pompeian wall‐paintings of the first century AD. Three mythological scenes inspired by Ovid’s Metamorphoses are arranged around a portico leading to a chamber decorated with imagery associated with the cult of Isis. The panels all depict a tragic meeting of desirous gazes, making them particularly receptive to a Lacanian reading, which explores the way in which each scene is triangulated…
Making an Impression: Replication and the Ontology of the Graeco‐roman Seal Stone
The debate on replication in ancient art has traditionally concentrated upon Roman ‘copies’ of famous Greek sculptures and paintings. This article explores a different, but no less significant, kind of replication – the use of intaglio gems as seals to create wax impressions. The mechanical transmission of a glyptic image from one medium to another played an important role in Graeco‐Roman society, conferring authority upon the seal as an individu…
Art History in the Temple
This paper tackles a prime site of contestation in the struggle to understand Greco-Roman notions of "art"—that of religion. The adoption of connoisseurial practices such as collecting and art-history writing in the Hellenistic period has often been yoked to a narrative of increasing secularization. Yet a broad range of sculpture, ekphrastic poetry and epigraphy demonstrates that art-historical erudition and the scholarly apparatus of catalog and…
Viewing, Desiring, Believing: Confronting the divine in a Pompeian house
This paper explores the interrelationships between a set of Pompeian wall‐paintings of the first century AD. Three mythological scenes inspired by Ovid’s Metamorphoses are arranged around a portico leading to a chamber decorated with imagery associated with the cult of Isis. The panels all depict a tragic meeting of desirous gazes, making them particularly receptive to a Lacanian reading, which explores the way in which each scene is triangulated…
Orphaned Objects: The Phenomenology of the Incomplete in Pliny's Natural History
Introduction: From Grecian Urn to Embodied Object
Viewing, Desiring, Believing: Confronting the divine in a Pompeian house
This paper explores the interrelationships between a set of Pompeian wall‐paintings of the first century AD. Three mythological scenes inspired by Ovid’s Metamorphoses are arranged around a portico leading to a chamber decorated with imagery associated with the cult of Isis. The panels all depict a tragic meeting of desirous gazes, making them particularly receptive to a Lacanian reading, which explores the way in which each scene is triangulated…
The Archaeology of Religious Hatred in the Roman and Early Medieval World Sauer, Eberhard
"The Archaeology of Religious Hatred in the Roman and Early Medieval World Sauer, Eberhard." Material Religion, 1(2), pp. 270–271
Making an Impression: Replication and the Ontology of the Graeco‐roman Seal Stone
The debate on replication in ancient art has traditionally concentrated upon Roman ‘copies’ of famous Greek sculptures and paintings. This article explores a different, but no less significant, kind of replication – the use of intaglio gems as seals to create wax impressions. The mechanical transmission of a glyptic image from one medium to another played an important role in Graeco‐Roman society, conferring authority upon the seal as an individu…
Art History in the Temple
This paper tackles a prime site of contestation in the struggle to understand Greco-Roman notions of "art"—that of religion. The adoption of connoisseurial practices such as collecting and art-history writing in the Hellenistic period has often been yoked to a narrative of increasing secularization. Yet a broad range of sculpture, ekphrastic poetry and epigraphy demonstrates that art-historical erudition and the scholarly apparatus of catalog and…
Framing the dead on roman sarcophagi
Agamemnon’s grief: On the Limits of Expression in Roman Rhetoric and Painting
A summary 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.
Likeness and likelihood in classical Greek art
A summary 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.
The artist as anecdote: Creating creators in ancient texts and modern art history
In 2007, the Musée du Louvre devoted an exhibition to the fourth-century BC Greek sculptor Praxiteles that gathered together important evidence for famed works such as his Aphrodite of Knidos and Apollo Sauroktonos. Unlike conventional shows devoted to the work of single artists, the Louvre's curators were faced with a critical problem, for despite Praxiteles’ renown, not a single object survives that can be securely attributed to his hand. Inste…
Facing the Gods
"This is the first history of epiphany as both a phenomenon and a cultural discourse within the Graeco-Roman world. It explores divine manifestations and their representations not only in art but also in literary, historical and epigraphic accounts, and sets the cultural analysis of this unfamiliar conceptual phenomenon within a historical framework that explores its development from the archaic period to the Roman Empire. In particular, a surpri…
The Matter of Classical Art History
Though foundational to the study of art history, Greco-Roman visual culture is often sidelined by the modern, and overshadowed by its own cultural and intellectual reception. Recent scholarship, however, has meticulously unpacked the discipline's formative narratives, while building on archaeological and literary studies in order to locate its objects of analysis more precisely within the dynamic cultural frameworks that produced them, and that w…
Framing the Visual in Greek and Roman Antiquity: An Introduction
The Frame in Classical Art is a book about the limits of visual representation. Contributors have been invited to explore the boundaries of what can be seen – the edges that defined, demarcated and contained the field of vision in ancient Greece and Rome. While the chapters that follow vary widely across time and place, all are structured around a common cultural histor-ical concern: to analyse the literal frames and metaphorical frameworks that …
Getting to grips with classical art
This chapter focuses on ancient sculpture, exploring how touch could be exploited as an epistemological "touchstone" for probing the ontological status of statues: the three-dimensional forms of classical naturalism. It argues that both encouraged and responded to the fantasy of a sculpted object transformed into a tangible, touching and conscious subject. The chapter turns from life-size sculpture to miniature engraved gems: it surveys how the v…
The Frame in Classical Art: A Cultural History
The frames of classical art are often seen as marginal to the images that they surround. Traditional art history has tended to view framing devices as supplementary 'ornaments'. Likewise, classical archaeologists have often treated them as tools for taxonomic analysis. This book not only argues for the integral role of framing within Graeco-Roman art, but also explores the relationship between the frames of classical antiquity and those of more m…
Dossier : Place aux objets !: Présentification et vie des artefacts en Grèce ancienne
Dossier : Et si, par-delà la dichotomie classique sujet-objet, les artefacts étaient appréhendés comme des agents voire des événements, et considérés dans leur rapport au temps et à l’espace ? Ce dossier propose l’étude des phénomènes, dispositifs et contextes par lesquels les objets adviennent en Grèce ancienne. Varia : Balles de fronde, noms barbares : la puissance des mots. Imaginaires du passé : la guerre lélantine, la figure de Solon. Le rôl…
Silent Bones and Singing Stones
This chapter investigates the relationship between materiality and textuality in the Hellenistic period, by focusing on real and imagined tombs of poets. At a time not only of feverish activity when literary texts were being collected, copied, catalogued, canonized, and archived, but also when contemporary poetry was carefully situating itself in relation to an emerging library culture, and, what is more, when texts were being reframed and circul…
Double Vision: Epiphanies of the Dioscuri in Classical Antiquity
The Dioscuri – Castor and Pollux – are among the most epiphanic of gods, frequently appearing in battle or to sailors struggling at sea. On Chios, a festival called the Theophania was founded in the third century BC to commemorate an epiphany of the twin gods. Indeed, their appearance at the Sicilian battle of the River Sagra c. 540 BC was so well known in Greek – and Roman – culture that it was invoked as a proverbial example of epiphanic manife…
Introduction: From Grecian Urn to Embodied Object
Orphaned Objects: The Phenomenology of the Incomplete in Pliny's Natural History
De l’original perdu à la série: Nouvelles approches des multiples gréco-romains
Il s’agit d’analyser dans cet essai les approches récentes de la recherche sur la « copie romaine » au sein de l’université et des musées. Tout en retraçant le parcours effectué depuis les pratiques de la Kopienkritik (qui privilégiait l’original grec perdu) jusqu’à la compréhension postmoderniste de la pratique romaine de l’imitation (qui met en évidence la dimension créative de la reproduction), il s’agit de s’intéresser pour finir au xxie sièc…
The Seal of Polycrates: A Discourse on Discourse Channel Conditions
This chapter explores Kittler’s claim that media provide models and metaphors for the senses, as well as ‘gadgets’ for conceptualizing the soul. Drawing on the role of the seal-ring ( daktylios ), in Greek philosophical models of sense perception, memory, and knowledge acquisition, together with examples of classical intaglios, it explores how practices of sealing were fundamental to the ‘cultural techniques’ ( Kulturtechniken ) through which Gre…
Re-membering the Belvedere Torso: Ekphrastic Restoration and the Teeth of Time
What is the relationship between art history and its objects? Responding to Jaś Elsner’s claim that art-historical writing is inevitably ekphrastic, this essay revisits a site of intense disciplinary anxiety—Johann Joachim Winckelmann’s 1759 description of the Belvedere Torso and its revised version in his 1764 History of Ancient Art. Description has been cast as the “scapegoat” (or pharmakos) of Winckelmann’s art history—that which must be excis…
Undisciplining the university through shared purpose, practice, and place
Interdisciplinary scholarship and education remains elusive at modern universities, despite efforts at both the individual and institutional levels. The objective of this paper is to identify the main motivations that bring different disciplines together in joint research and identify some of the obstacles to that coming together. Here we propose that shared purpose (why do I participate?), practice (how do we interact?), and place (where do we i…
Art (18 works) · Classical Antiquity Studies (17 works) · History (12 works) · Computer Science (9 works) · Literature (9 works) · Philosophy (9 works) · Visual arts (9 works) · Ancient Mediterranean Archaeology and History (7 works) · Archaeology (6 works) · Art history (6 works)