By Jörg Rüpke
A complete therapy of the numerous symbols and associations of Roman faith, this significant other areas some of the non secular symbols, discourses, and practices, together with Judaism and Christianity, right into a greater framework to bare the sprawling panorama of the Roman faith.
- An leading edge creation to Roman faith
- Approaches the sphere with a spotlight at the human-figures rather than the gods
- Analyzes non secular adjustments from the 8th century BC to the fourth century advert
- Offers the 1st historical past of spiritual motifs on cash and household/everyday utensils
- Presents Roman faith inside of its cultural, social, and historic contexts
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A complete remedy of the numerous symbols and associations of Roman faith, this better half locations a number of the non secular symbols, discourses, and practices, together with Judaism and Christianity, right into a greater framework to bare the sprawling panorama of the Roman faith. An leading edge advent to Roman faith ways the sphere with a spotlight at the human-figures rather than the gods Analyzes non secular adjustments from the 8th century BC to the fourth century advert deals the 1st heritage of spiritual motifs on cash and household/everyday utensils offers Roman faith inside of its cultural, social, and old contexts
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Extra info for A Companion to Roman Religion
Thus the earliest literary reference to Roman religion will be the appearance of Camena in Livius Andronicus’ version of Homer’s Odyssey. A position on Roman religion is implied; still, although the word is specialist, its literary context is not. Put differently, Andronicus knew about the relation between Camena and the Muses, but we cannot hope to recover it with certainty. Likewise what did the elder Cato know about Ares in connection with Mars (Agr. 141)? Indeed, Cicero’s famous statement on the aridity of the chronicles of the Annales Maximi (Leg.
Methodologically, however, it is important neither to engage in a debate about their existence nor to expect to find them or their traces empirically. Thus, the lack of a chapter on “gods” is intentional. Analyzed as “signs,” the “gods” have neither an essence nor biographies. To represent the immortal god in social space, one has to produce new or use established signs, and these signs vary according to the media used. Narratives are an important medium, for example in historiography or epic (chapter 10); images could appear on coins (chapter 11), on reliefs (chapter 12), or independently as sculptured statues (chapter 15); and conventions of representation, of the use, and of the audience vary from genre to genre.
Many have not seen the light of day, such as letters from, to, and about Stefan Weinstock (Phillips 2004); there we learn, for example, that Eduard Fraenkel’s negative report on Weinstock’s “Triumphus” manuscript led to its rejection by Oxford University Press (Phillips 2004: 1043–4). The reasons, definitely not bruited about at the time, remain unknown and we are forced to conclude from Fraenkel’s published works that while the great Latinist knew much about Roman religion, he did not know as much about it as he thought.