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This is the first study of Sergei Eisenstein's relationship to classical antiquity. Eisenstein regarded the cinema as a Gesamtkunstwerk and considered the ancient Greeks among its ancestors. He detected what he called “cinematism” in Homer, the Laocoon sculpture group, the Acropolis, and elsewhere. The book interprets Eisenstein's chief concept, montage, as a visual analogy to clever juxtapositions in Roman poetry and examines his conflicts with Stalin and the Communist Party over Bezhin Meadow and Ivan the Terrible alongside the classical rhetorical strategy of formidable speaking in the face of absolute power and the Russian practice of Aesopian language. Eisenstein also influenced the design of the New Acropolis Museum via an essay about the Acropolis' architectural promenade and his epic Alexander Nevsky. The cinematism of the Parthenon Frieze, American cinema architecture modeled on the Parthenon, and Eisenstein's image of the cinema as a temple reinforce his importance within the classical tradition.
Craftworkers throughout history have nearly always worked anonymously, often as valuable assistants in the service of famed artisans but typically without proper credit or recognition. However, an unsigned piece can nevertheless reveal a world. While these craftworkers' names may be lost to history, their contributions can be properly acknowledged and their working realities in large part reconstructed through fresh methodological approaches to architectural, artefactual and epigraphic evidence and other sources. In this book, which will interest scholars in a wide range of fields, Hallie Meredith sheds new light on the crucially important but largely neglected work of fourth- to sixth-century Roman artists in traditional craft materials and processes, such as glass, ivory and marble carving. She uses these case studies to provide insights not just into the past but also into the continuing realities of uncredited creative labourers today.
Bringing together new and accessible translations of texts from Plutarch's Lives and the Moralia, this volume demonstrates Plutarch's enduring importance in the history of political thought. The texts selected include the essays 'Beasts are Rational' and 'How to Profit from Enemies', which were taken up by key theorists including Hobbes and Rousseau, alongside full translations of lesser-known works including 'Life of Phocion', 'On Women's Courage' and 'Advice on the Conduct of Politics' which inspired numerous political actors and writers throughout Europe. With an introductory essay, explanatory notes on the translation and bibliography, the volume offers fresh insights for readers seeking an understanding of Plutarch's work and its continued influence and relevance for politics.
Sicilian curse practices have often been misread through Athenocentric paradigms. This book repositions Sicily at the centre of inquiry, offering the first holistic analysis of legal curse tablets (defixiones iudiciariae) from the sixth to the fourth centuries BCE, with particular focus on Selinous, Akragas and Kamarina. Moving beyond isolated textual readings, it situates these inscriptions within the legal, social and political environments that shaped their production. The study provides new editions and drawings of key tablets – revisited after decades of neglect – while addressing palaeographic, chronological and editorial issues. For the first time, it also assembles a complete set of images of all major examples, making them fully accessible. By embedding curses within civic life and predominantly elite rivalries, it reveals them as 'paralegal' instruments in the renegotiation of status, authority and power. Sicilian legal curses thus emerge as independent from, rather than appendices to, their better-known Attic and Athenian counterparts.
The ancient Greek goddess and action peithō, which was understood as a form of inducement or psychological pressure at work in rhetoric but also in other spheres of human activity, presented dangers to interpersonal and political persuasion. Evidence from poetry, drama, vase painting, oratory, and magical papyri reveals ways in which communities and individuals understood and learned to tolerate peithō's threats of ambiguity and coercion. Allannah Karas examines peithō in connection with other coercive, semi-divine forces, such as bia (physical force), anankē (constraint, necessity), and thelgein (enchantment), which are perceived as acting on the human psyche and within the human community. She also draws on social psychology, especially the concept of ambiguity tolerance and reactance theory, to illuminate the efficacy of ancient Greek communal practices (e.g. drama, ritual, romanticization and visual humor, and oratorical piety) as mechanisms for managing peithō's necessary yet dangerous presence in society.
Against the background of the interest in ancient Mediterranean connectivity and globalization, the present volume examines local places and local communities. Exploring the interplay between the local and the global, the focus shifts from long-distance connections and 'global' trends to the local dimensions of Mediterranean interactions, highlighting how local contexts engaged with their long-distance counterparts. Given the transformative nature of this period and region, our focus is firmly on the western Mediterranean during the first half of the first millennium BCE. Discussions of the local places and local communities of the Iron Age West Mediterranean are wrapped around the twin notions of agency and locality. We argue that everyday local agency produces locality in an ongoing dialectic, ranging from collaboration to struggle, with globalizing influences and colonial forces. The eighteen West Mediterranean case studies are organized around the themes of 'Indigeneity and locality', 'agency and empowerment' and 'practice and production'.
'Hipponax the poet' is an elusive figure. Stories about him abounded already in antiquity, at least in part extrapolated from the stories about himself that abounded in his poems. But what distinguishes him from other Greek lyric poets is the manner in which his corpus suggests a strategy of mischievousness around self-presentation: a deliberate confounding of expectations, the projecting of a pointedly strange and untrustworthy authorial persona. This is the first book-length literary study of Hipponax for almost half a century. It is written by an international team of scholars, who tackle various topics such as his relationship with social mores, performance practices, earlier and later poetry, and the visual arts. Contributors apply a range of perspectives for a richer understanding of Hipponax's poetics and provide close readings of several key texts. The volume is suitable for scholars and students of literature and all the Greek is translated.
Japan and ancient Greece. Placed side by side, these two concepts give the impression of something very strange, a sort of chimera - half Apollo, half samurai; half Venus, half geisha - set on a ground that is at once white and blue like the Cyclades, dark green and vermillion like Shintō shrines. How could two countries so distant from each other be joined together to form a coherent image, to give birth to a meaningful concept? In this groundbreaking study - translated into English for the first time - Michael Lucken analyses the manifold ways in which Japan has adopted and engaged with ancient Greece in the period from the Meiji restoration to the present. This invaluable and timely volume not only demonstrates that the influence of ancient Greece has permeated all aspects of Japanese public and cultural life, but ultimately illustrates that the reception of Classics is a global phenomenon.
Few buildings have been as important to Western culture as the Mausoleum of Halicarnassus. One of the Seven Wonders of antiquity, it was destroyed during the Middle Ages, leading countless architects, antiquarians, painters and printmakers in Early Modern Europe to speculate upon its appearance. This book – the first on its subject – examines their works, from erudite publications to simple pen sketches, from elegant watercolours to complete buildings inspired by the monument. Spanning the period between the Italian Renaissance and the discovery and archaeological excavation of the Mausoleum's foundations in the 1850s, it covers the most important cultural contexts of Western Europe, without neglecting artworks from Peru, China and Japan. The monument's connexion with themes of widowhood and female political power are analysed, as are the manifold interactions between architecture, text and image in the afterlife of the Mausoleum. This title is also available as Open Access on Cambridge Core.
The western tradition of coinage began in Asia Minor around 650 BCE and from there the idea spread quite rapidly to other parts of the Mediterranean. This book describes and evaluates developments in coinage down to the period of the Persian Wars, ending in 479. Early coinage was not monolithic. The new medium of exchange proved attractive to a variety of rulers and societies – kings, dynasts, tribes, city–states with varying forms of governance. The physical characteristics of the coins produced were another source of difference. Initially there was no fixed idea of what a coin should look like, and there were several experiments before a consensus emerged around a small, circular metal object with a design, or type, on both sides. This book provides students with an authoritative introduction, with all technical terms and methodologies explained, as well as illustrations of over 200 important coins with detailed captions.
The Roman world was a rural world. Most of the Roman population lived in the countryside and had their immediate rural surroundings as their social and economic frame of reference. For much of the Roman period, rural property provided the basis for political power and urban development, and it was in rural areas that the agricultural crops that sustained an expanding empire were grown and many of the most important Roman industries were situated. Rural areas witnessed the presence of some of the most durable symbols of Roman imperial hegemony, such as aqueducts and paved roads. It was mainly here that native and Roman traditions collided and were negotiated. This volume, containing 30 chapters by leading scholars, leverages recent methodological advancements and new interpretative frameworks to provide a holistic view, with an empire-wide reach, of the importance of Roman rural areas in the success of ancient Rome.
Interest in the relationship between Paul's letter openings and Koine Greek letter-writing conventions has been steady for over a century, but little new data has emerged in recent years. In this study, Gillian Asquith offers a fresh perspective on Paul's epistolary practice by adopting a multidisciplinary method that synthesises sociolinguistics and lexicography. Comparing the language of Paul's letter openings with the register of language in documentary papyri, she demonstrates that high-register language in Koine Greek epistolary formulae contributes to warm and friendly relations between correspondents. Asquith argues that Paul creatively modifies epistolary norms by using unexpected, high-register language in the remembrance motif and litotic disclosure formula. Such usage, she posits, emphatically reassures Paul's recipients of his pastoral concern for them and heightens the persuasive force of his letters. Asquith's nuanced analysis contributes valuable new data to long-running debates around Paul's practice of prayer and the structure of his letters.
How did the state become Christian in late antiquity? Many scholars have traced the Christianization of the Roman world in the centuries following the conversion of the emperor Constantine in 312 CE. Robin Whelan, however, turns his attention away from the usual suspects in such accounts-emperors, empresses, bishops, ascetics, and other holy people-to consider a surprisingly understudied set of late ancient Christians: those who served the state as courtiers, bureaucrats, and governors. By tracing the requirements of regimes, the expectations of subjects, and patterns of engagement with churches and churchmen, he argues that that those who served the state in late antiquity could be seen-and indeed, could see themselves-as distinctly Christian authority figures-just as much as the emperors and kings whom they served, and the bishops and ascetics whom they governed. This title is also available as Open Access on Cambridge Core.
This book proposes that Sophoclean tragedy is a distinctive form of religious discourse concerned with exploring the relationship between humans and gods. Building on recent scholarship that has begun to reintegrate literature within the study of Greek religion after decades of neglect, Alexandre Johnston positions Sophocles' seven extant plays within a vibrant tradition of early Greek theology, literature and philosophy that cuts across modern disciplinary boundaries. Blending an overarching thematic approach with detailed analysis of key case studies, he argues that tragedies such as Antigone and Electra were at once poetic works and religious artefacts that engaged profoundly with contemporary intellectual culture. Through their narrative structure and performance, these tragedies allow spectators privileged insights into the workings of an obscure, unstable world dominated by inscrutable gods, offering distinctive, sometimes radical visions of the divine and its impact on the existence of mortals.
Aristotle's account of justice has inspired thinkers as diverse as Thomas Aquinas and Martha Nussbaum. Concepts such as distributive justice, equity, the common good, and the distinction between just and unjust political organizations find articulations in his writings. But although Aristotle's account of justice remains philosophically relevant, its intellectual, social, and political origins in the Mediterranean world of the fourth century BCE have often been overlooked. This book places Aristotle's account of justice in dialogue with his fourth-century intellectual colleagues such as Plato, Xenophon, and Isocrates, and allows it to be understood within the framework of fourth-century institutions as they were experienced by citizens of ancient Greek political communities. It thus provides the modern reader with the framework which Aristotle presupposed for his original work in antiquity, including the intellectual debates which formed its context.
Appropriation, 'making something one's own', is a modern way of thinking about social practices. This volume highlights the potential of this critical concept for the investigation of everyday religious practice – and more generally, everyday social practice – in Antiquity. Appropriation foregrounds the agency of the social actors against the strictures imposed by the dominant culture's social order, whose ideas and practices they make their own, altering them in multiple, often subtle ways. How does appropriation transform pre-existing, traditional practices? What are the dominant structures against which the actors operate? Which tactics do they use? These are only some of the questions this volume seeks to address. The critical term 'appropriation' has yet to be fully discovered by classicists; the case studies in this volume, ranging from classical Greece to Late Antique Egypt, endeavour to demonstrate its pertinence to the study of religion in Antiquity.
Pindar was the single most important, canonical and influential lyric poet in the ancient Greek world, and he remains one of the most demanding and rewarding poets whose work has come down to us from antiquity. This volume represents the most comprehensive introduction to the poet and his reception yet published. Eighteen leading contemporary scholars contribute individual chapters that together help to provide a holistic understanding of Pindar's poetry, its major themes and its subsequent reception throughout more than two millennia. The book will be invaluable for students, teachers, and scholars, as well as those with a general interest in poetry.
Bronze was a prized medium for sculpture in the classical world, as reflected by the remnants of the thousands of bronze statues of gods, dignitaries, and intellectuals that once filled its cities and sanctuaries. Today, only a few hundred statues are preserved, counting heads without bodies and bodies missing heads and limbs. Fortunately, the few survivors – pieces of bronze statues, scraps dumped by ancient bronze foundries, ancient texts, and occasional new finds – offer invaluable insights into the ancient bronze statuary industry. In this magisterial work, Carol Mattusch brings her deep knowledge of ancient technology to the study of bronze sculpture from multiple perspectives. Analyzing ancient literary testimonia together with the material evidence, she charts the production process from start to finished statues and to modern workshop analogies. Exploring standards for size, appearance, and placement of classical public statuary, her volume also considers issues related to Roman private collections of bronzes, including taste, production, means of acquisition, display, and loss or occasional survival of ancient bronzes.