附註:Includes bibliographical references (pages 471-492) and index.
I. Approaching Alexander. 1. Texts. 1. Histories. 2. The Portraits: Testimonia. 2. Images. 1. Survivors. 2. Synthesis. 3. Approaches. 3. Alexander: An Encounter. 1. A Meeting in Kilikia. 2. Personal. 3. New Achilles. 4. King Alexander. 5. God Invincible? -- II. King and Conqueror. 4. Masks of Youth. 1. Youth and Rejuvenation. 2. Attic and Lysippic. 3. Progeny. 4. King and Polis. 5. Charges to Remember. 1. In Memoriam. 2. The Alexander Mosaic: A Reading. 3. Apulian Echoes. 6. Spear-won Land. 1. Unifying Images. 2. Alexander Doryphoros. 3. Chameleon King. 4. Make War, Not Love. 7. On Loan from Olympos. 1. A Revocable Gift. 2. The Heritage of Apelles. 3. Enigma in Malibu. 4. Death and Transfiguration -- III. Survivors and Successors. 8. Imperial Egypt. 1. A Regional Hegemony? 2. Alexandreion Ptolemaiou. 3. Blessed Patron, Blessed City. 4. Alexandrian Carnival. 5. Alexander's Image and Ptolemaic Policy. 9. Images of Insecurity. 1. "Alexander and Victory" 2. Crusade in Africa. 3. A Soldier's Return. 4. Macedonia and Greece: Kassandros to Gonatas. 10. Asian Figurehead. 1. Two Vassals. 2. The Cities of Asia. 3. Antigonos, Demetrios, Seleukos, and Lysimachos -- Epilogue: Resurrections -- App. 1. Alexander's Personal Appearance -- App. 2. The Hellenistic and Roman Republican Portraits: Literary and Epigraphical Testimonia -- App. 3. Cults of Alexander -- App. 4. Preserved Alexander Portraits Discussed in the Text -- App. 5. The Getty Fragments: A Catalogue -- App. 6. Hephaistion -- App. 7. Alexander and the Successors: A Chronology (336-275 B.C.).
摘要:Alexander the Great changed the face of the ancient world. During his life and after his death, his image in works of art exerted an unprecedented influence. But can we really know what meaning lies behind these images? Andrew Stewart demonstrates that these portraits actually transmit not so much a likeness of Alexander as a set of carefully crafted clichés that mobilize the notion "Alexander" for diverse ends and diverse audiences. Stewart discusses the portraits as studies in power and his original interpretation of them gives unprecedented fullness and shape to the idea and image called "Alexander." [publisher].
