Sprache: Englisch
Verlag: Cambridge University Press, 2011
ISBN 10: 1107603609 ISBN 13: 9781107603608
Anbieter: ThriftBooks-Atlanta, AUSTELL, GA, USA
Paperback. Zustand: Very Good. No Jacket. May have limited writing in cover pages. Pages are unmarked. ~ ThriftBooks: Read More, Spend Less.
Sprache: Englisch
Verlag: Cambridge University Press, Cambridge Uk, 2011
ISBN 10: 1107603609 ISBN 13: 9781107603608
Anbieter: Westside Stories, Hamilton, ON, Kanada
Soft cover. Zustand: Like New. No Jacket. First Paperback Edition. A Nice Clean Tight Over Sized Paperback., No Marks Or Notations. Very Clean. Glossy Sepia Card Covers With Female Statue On The Front. No Reading Or Shelf Marks. Pristine.
Sprache: Englisch
Verlag: Cambridge University Press, 2011
ISBN 10: 1107603609 ISBN 13: 9781107603608
Anbieter: Antiquariat-Plate, Rosendahl, NRW, Deutschland
Broschiert. 272 Seiten in englischer Sprache durchgängig illustriert. Kaum Lagerspuren. Sehr gutes Exemplar. Sprache: Englisch Gewicht in Gramm: 563.
Anbieter: Revaluation Books, Exeter, Vereinigtes Königreich
EUR 85,24
Anzahl: 2 verfügbar
In den WarenkorbPaperback. Zustand: Brand New. 260 pages. 9.90x6.90x0.60 inches. In Stock.
Sprache: Englisch
Verlag: Cambridge University Press, 2011
ISBN 10: 1107603609 ISBN 13: 9781107603608
Anbieter: AHA-BUCH GmbH, Einbeck, Deutschland
Taschenbuch. Zustand: Neu. Druck auf Anfrage Neuware - Printed after ordering - In this book, Sheila Dillon offers the first detailed analysis of the female portrait statue in the Greek world from the fourth century BCE to the third century CE. A major component of Greek sculptural production, particularly in the Hellenistic period, female portrait statues are mostly missing from our histories of Greek portraiture. Whereas male portraits tend to stress their subject's distinctiveness through physiognomic individuality, portraits of women are more idealized and visually homogeneous. In defining their subjects according to normative ideals of beauty rather than notions of corporeal individuality, Dillon argues that Greek portraits of women work differently than those of men and must be approached with different expectations. She examines the historical phenomenon of the commemoration of women in portrait statues and explores what these statues can tell us about Greek attitudes toward the public display of the female body.