Troy is familiar to us from the timeless and epic tales of Homer's Iliad and Virgil's Aeneid. These have been retold over the centuries by writers from Chaucer to Shakespeare to Madeline Miller and Rick Riordan, and enacted by stars such as Elizabeth Taylor and Brad Pitt. But how much do we really know about the city of Troy; its storytellers, myth, actual location or legacy? In this richly illustrated book, the story of Troy is told through a new lens. Published to accompany an exhibition at the British Museum, it introduces the storytellers and Classical artists inspired by the myths of Troy, then examines the tales themselves - from the Judgment of Paris to the return of Odysseus - through the Classical objects for which the museum is internationally known. The third section focuses on Heinrich Schliemann's excavations at Hissarlik, introducing the nineteenth-century search for the location of Troy that convinced the world that this city did once exist. Also explored is the possible Bronze Age background for the myth of the Trojan War, the historicity of which remains unresolved today. The final section delves into the legacy of Troy, and the different ways in which its story has been retold, both in literature and art, from Homer to the present day. Focusing on the major characters - Helen of Troy, Achilles and Hector, Aeneas and Odysseus - it illustrates how artists from Cranach and Rubens to Romare Bearden and Cy Twombly have been inspired by this archetypal tale to reflect on contemporary themes of war and heroism, love and beauty.

This handbook offers both students and teachers of ancient Greek religion a comprehensive overview of the current state of scholarship in the subject, from the Archaic to the Hellenistic periods. It not only presents key information, but also explores the ways in which such information is gathered and the different approaches that have shaped the area. In doing so, the volume provides a crucial research and orientation tool for students of the ancient world, and also makes a vital contribution to the key debates surrounding the conceptualization of ancient Greek religion. The handbook's initial chapters lay out the key dimensions of ancient Greek religion, approaches to evidence, and the representations of myths. The following chapters discuss the continuities and differences between religious practices in different cultures, including Egypt, the Near East, the Black Sea, and Bactria and India. The range of contributions emphasizes the diversity of relationships between mortals and the supernatural - in all their manifestations, across, between, and beyond ancient Greek cultures - and draws attention to religious activities as dynamic, highlighting how they changed over time, place, and context.

Anybody wanting to learn something about the commander-in-chief of the Greek army in the Trojan War will find out in this booklet. Jill Dudley explains the curse inflicted on the House of Atreus by King Agamemnon's ancestor, and the misfortunes suffered by King Agamemnon and his family. She relates events in the war in which Agamemnon was involved, and describes his tragic homecoming. As the back cover to this third booklet in this Put it in Your Pocket series says, it is: All you need to know about Greek myths concerning the Trojan War.

The Wooden Horse is legendary, but what exactly was it? Why did the Greek warriors construct such a thing in the first place? And what was it that made the Trojans believe the Greeks had sailed away and the ten-year Trojan War was over? All these questions are answered in this fifth booklet of the Put it in Your Pocket Series.

The polytheistic religious systems of ancient Greece and Rome reveal an imaginative attitude towards the construction of the divine. One of the most important instruments in this process was certainly the visualisation. Images of the gods transformed the divine world into a visually experienceable entity, comprehensible even without a theoretical or theological superstructure. For the illiterates, images were together with oral traditions and rituals the only possibility to approach the idea of the divine; for the intellectuals, images of the gods could be allegorically transcended symbols to reflect upon. Based on the art historical and textual evidence, this volume offers a fresh view on the historical, literary, and artistic significance of divine images as powerful visual media of religious and intellectual communication.

Destruction of temples and their transformation into churches are central symbols of late antique change in religious environment, socio-political system, and public perception. Contemporaries were aware of these events' far-reaching symbolic significance and of their immediate impact as demonstrations of political power and religious conviction. Joined in any "temple-destruction" are the meaning of the monument, actions taken, and subsequent literary discourse. Paradigms of perception, specific interests, and forms of expression of quite various protagonists clashed. Archaeologists, historians, and historians of religion illuminate "temple-destruction" from different perspectives, analysing local configurations within larger contexts, both regional and imperial, in order to find an appropriate larger perspective on this phenomenon within the late antique movement "from temple to church".

This book thoroughly revisits divination as a central phenomenon in the lives of ancient Greeks, Romans, and Egyptians. It collects studies from many periods in Graeco-Roman history, from the Archaic period to the late Roman, and touches on many different areas of this rich topic, including treatments of dice oracles, sortition in both pagan and Christian contexts, the overlap between divination and other interpretive practices in antiquity, the fortunes of independent diviners, the activity of Delphi in ordering relations with the dead, the role of Egyptian cult centers in divinatory practices, and the surreptitious survival of recipes for divination by corpses. It also reflects a range of methodologies, drawn from anthropology, history of religions, intellectual history, literary studies, and archaeology, epigraphy, and paleography. It will be of particular interest to scholars and student of ancient Mediterranean religions.

Twice Neokoros is a case study of the Cult of the Sebastoi that was established in the city of Ephesus by the province of Asia during the late first century C.E. Epigraphic and numismatic data indicate that the Cult of the Sebastoi was dedicated in 89/90 to the Flavian imperial family. The architecture, sculpture, municipal titles, and urban setting of the cult all reflect Asian religious traditions. The image of Ephesus was significantly altered by the use of these traditions in the institutions related to the Cult of the Sebastoi. Within the context of the history of provincial cults in the Roman Empire, the Cult of the Sebastoi became a turning point in the rhetoric of social order. Thus, the Cult of the Sebastoi served as a prototypical manifestation of socio-religious developments during the late first and early second century in the Eastern Mediterranean.

This title is a scholarly exploration of one of the most complex, liminal and paradoxical gods of the ancient world. In this journey through the faces and forms of Dionysos, the author guides the reader through the ancient classical world, revealing his hidden faces and forms, and demonstrating the presence of Dionysos in a variety of cultures, across countries from Greece to India, Turkey to Bulgaria, in the growth cycles of nature, in the creation of theatre, and even in the ancient Greek calendar.

When Oedipus met the Sphinx on the road to Thebes, he did more than answer a riddle - he spawned a myth that, told and retold, would become one of Western culture's central narratives about self-understanding. Identifying the story as a threshold myth - in which the hero crosses over into an unknown and dangerous realm where rules and limits are not known - Oedipus and the Sphinx offers a fresh account of this mythic encounter and how it deals with the concepts of liminality and otherness. Almut-Barbara Renger assesses the story's meanings and functions in classical antiquity - from its presence in ancient vase painting to its absence in Sophocles' tragedy - before arriving at two of its major reworkings in European modernity: the psychoanalytic theory of Sigmund Freud and the poetics of Jean Cocteau. Through her readings, she highlights the ambiguous status of the Sphinx and reveals Oedipus himself to be a liminal creature, providing key insights into Sophocles' portrayal and establishing a theoretical framework that organizes evaluations of the myth's reception in the twentieth century. Revealing the narrative of Oedipus and the Sphinx to be the very paradigm of a key transition experienced by all of humankind, Renger situates myth between the competing claims of science and art in an engagement that has important implications for current debates in literary studies, psychoanalytic theory, cultural history, and aesthetics.