In scholarship, classical (Renaissance) humanism is usually strictly distinguished from 'neo-humanism', which, especially in Germany, flourished at the beginning of the 19th century. While most classical humanists focused on the practical imitation of Latin stylistic models, 'neohumanism' is commonly believed to have been mainly inspired by typically modern values, such as authenticity and historicity. Bas van Bommel shows that whereas 'neohumanism' was mainly adhered to at the German universities, at the Gymnasien a much more traditional educational ideal prevailed, which is best described as 'classical humanism.' This ideal involved the prioritisation of the Romans above the Greeks, as well as the belief that imitation of Roman and Greek models brings about man's aesthetic and moral elevation. Van Bommel makes clear that 19th century classical humanism dynamically related to modern society. On the one hand, classical humanists explained the value of classical education in typically modern terms. On the other hand, competitors of the classical Gymnasium laid claim to values that were ultimately derived from classical humanism. 19th century classical humanism should therefore not be seen as a dried-out remnant of a dying past, but as the continuation of a living tradition.

In scholarship, classical (Renaissance) humanism is usually strictly distinguished from 'neo-humanism', which, especially in Germany, flourished at the beginning of the 19th century. While most classical humanists focused on the practical imitation of Latin stylistic models, 'neohumanism' is commonly believed to have been mainly inspired by typically modern values, such as authenticity and historicity. Bas van Bommel shows that whereas 'neohumanism' was mainly adhered to at the German universities, at the Gymnasien a much more traditional educational ideal prevailed, which is best described as 'classical humanism.' This ideal involved the prioritisation of the Romans above the Greeks, as well as the belief that imitation of Roman and Greek models brings about man's aesthetic and moral elevation. Van Bommel makes clear that 19th century classical humanism dynamically related to modern society. On the one hand, classical humanists explained the value of classical education in typically modern terms. On the other hand, competitors of the classical Gymnasium laid claim to values that were ultimately derived from classical humanism. 19th century classical humanism should therefore not be seen as a dried-out remnant of a dying past, but as the continuation of a living tradition.

This exploration of the culture of public speaking in the Iberian world places the renaissance revival of letters within a global context.

How did the statues of ancient Greece wind up dictating art history in the West? How did the material culture of the Greeks and Romans come to be seen as "classical" and as "art"? What does "classical art" mean across time and place? In this ambitious, richly illustrated book, art historian and classicist Caroline Vout provides an original history of how classical art has been continuously redefined over the millennia as it has found itself in new contexts and cultures. All of this raises the question of classical art's future. What we call classical art did not simply appear in ancient Rome, or in the Renaissance, or in the eighteenth-century Academy. Endlessly repackaged and revered or rebuked, Greek and Roman artifacts have gathered an amazing array of values, both positive and negative, in each new historical period, even as these objects themselves have reshaped their surroundings. Vout shows how this process began in antiquity, as Greeks of the Hellenistic period transformed the art of fifth-century Greece, and continued through the Roman empire, Constantinople, European court societies, the neoclassical English country house, and the nineteenth century, up to the modern museum. A unique exploration of how each period of Western culture has transformed Greek and Roman antiquities and in turn been transformed by them, this book revolutionizes our understanding of what classical art has meant and continues to mean.

Doing Humanities in Nineteenth-Century Germany, edited by Efraim Podoksik, examines the ways in which the humanities were practised by German thinkers and scholars in the long nineteenth century and the relevance of those practices for the humanities today.

This book traces the development of scientific conservation and technical art history. It takes as its starting point the final years of the nineteenth century, which saw the establishment of the first museum laboratory in Berlin, and ground-breaking international conferences on art history and conservation held in pre-World War I Germany. It follows the history of conservation and art history until the 1940s when, from the ruins of World War II, new institutions such as the Istituto Centrale del Restauro emerged, which would shape the post-war art and conservation world. The book will be of interest to scholars working in art history, conservation history, historiography, and history of science and humanities.

Universities have searched for truth over nearly a millennium. Maxwell Bennett recounts the history of this search during three of its most momentous periods in the 13th, 18th and 20th centuries, which helped fashion the idea of a university. He concludes with a cautionary assessment of whether universities, given their present level of material support, can reliably continue to protect and advance society.

How did science come to have such a central place in Western culture? How did our ways of thinking, and our moral, political, and social values, come to be modelled around scientific values? Stephen Gaukroger traces the story of how these values developed, and how they influenced society and culture from the 19th to the mid-20th century.

Chinese Writing and the Rise of the Vernacular in East Asia is a wide-ranging study of vernacularization in East Asia--not only China, Japan, Korea, and Vietnam, but also societies that no longer exist, such as the Tangut and Khitan empires. Peter Kornicki takes the reader from the early centuries of the common era, when the Chinese script was the only form of writing and Chinese Buddhist, Confucian, and medical texts spread throughout East Asia, through the centuries when vernacular scripts evolved, right up to the end of the nineteenth century when nationalism created new roles for vernacular languages and vernacular scripts. Through an examination of oral approaches to Chinese texts, it shows how highly-valued Chinese texts came to be read through the prism of the vernaculars and ultimately to be translated. This long process has some parallels with vernacularization in Europe, but a crucial difference is that literary Chinese was, unlike Latin, not a spoken language. As a consequence, people who spoke different East Asian vernaculars had no means of communicating in speech, but they could communicate silently by means of written conversation in literary Chinese; a further consequence is that within each society Chinese texts assumed vernacular garb: in classes and lectures, Chinese texts were read and declaimed in the vernaculars. What happened in the nineteenth century and why are there still so many different scripts in East Asia? How and why were Chinese texts dethroned, and what replaced them? These are some of the questions addressed in Chinese Writing and the Rise of the Vernacular in East Asia.

In Western Ways, for the first time, the "foreign schools" in Rome and Athens, institutions dealing primarily with classical archaeology and art history, are discussed in historical terms as vehicles and figureheads of national scholarship. By emphasising the agency and role of individuals in relation to structures and tradition, the book shows how much may be gained by examining science and politics as two sides of the same coin. It sheds light on the scholarly organisation of foreign schools, and through them, on the organisation of classical archaeology and classical studies around the Mediterranean. With its breadth and depth of archival resources, Western Ways offers new perspectives on funding, national prestige and international collaboration in the world of scholarship, and places the foreign schools in a framework of nineteenth and twentieth century Italian and Greek history.