Exploring the political ideology of Republicanism under the Roman emperors of the first century AD, Sam Wilkinson puts forward the hypothesis that there was indeed opposition to the political structure and ideology of the rulers on the grounds of Republicanism. While some Romans wanted a return to the Republic, others wanted the emperor to ensure his reign was as close to Republican moral and political ideology as possible. Analysing the discourse of the period, the book charts how the view of law, morality and behaviour changed under the various Imperial regimes of the first century AD. Uniquely, this book explores how emperors could choose to set their regime in a more Republican or more Imperial manner, thus demonstrating it was possible for both the opposition and an emperor to be Republican. The book concludes by providing evidence of Republicanism in the first century AD which not only created opposition to the emperors, but also became part of the political debate in this period.

Aelius Aristides' Hieroi Logoi present a unique first-person narrative from the ancient world-a narrative that seems at once public and private, artful and naive. While scholars have embraced the Logoi as a rich source for Imperial-era religion, politics, and elite culture, the style of the text has presented a persistent stumbling block to literary analysis. Setting this dream-memoir of illness and divine healing in the context of Aristides' professional concerns as an orator, this book investigates the text's rhetorical aims and literary aspirations. At the Limits of Art argues that the Hieroi Logoi are an experimental work. Incorporating numerous dream accounts and narratives of divine cure in a multi-layered and open text, Aristides works at the limits of rhetorical convention to fashion an authorial voice that is transparent to the divine. Reading the Logoi in the context of contemporary oratorical practices, and in tandem with Aristides' polemical orations and prose hymns, the book uncovers the professional agendas motivating this unusual self-portrait. Aristides' sober view of oratory as a sacred pursuit was in conflict with a widespread contemporary preference for spectacular public performance. In the Hieroi Logoi, Aristides claims a place in the world of the Second Sophistic on his own terms, offering a vision of his professional inspiration in a style that pushes the limits of literary convention.

This book approaches the manifestation and evolution of the idea of Rome as an expression of Roman patriotism and as an (urban) archetype of utopia in late Roman thought in a period extending from AD 357 to 417. Within this period of about a human lifetime, the concepts of Rome and Romanitas were reshaped and used for various ideological causes. This monograph unfolds through a selection of sources that represent the patterns and diversity of this ideological process. The theme of Rome as a personified and anthropomorphic figure and as an epitomized notion 'applied' on the urban landscape would become part of the identity of the Romans of Rome highlighting a sense of cultural uniqueness in an era when their city's privileged status was challenged. Towards the end of the chronological limits set in this thesis various versions of Romanitas would emerge indicating new physical and spiritual potentials.

Classical Memories is an intervention into the field of adaptation studies, taking the example of classical reception to show that adaptation is a process that can be driven by and produce intertextual memories. I see 'classical memories' as a memory-driven type of adaptation that draws on and reproduces schematic and otherwise de-contextualised conceptions of antiquity and its cultural 'exports' in, broadly speaking, the twentieth and twenty-first centuries. These memory-driven adaptations differ, often in significant ways, from more traditional adaptations that seek to either continue or deconstruct a long-running tradition that can be traced back to antiquity as well as its canonical points of reception in later ages. When investigating such a popular and widespread set of narratives, characters, and images like those that remain of Graeco-Roman antiquity, terms like 'adaptation' and 'reception' could and should be nuanced further to allow us to understand the complex interactions between modern works and classical antiquity in more detail, particularly when it pertains to postcolonial or post-digital classical reception. In Classical Memories, I propose that understanding certain types of adaptations as intertextual memories allows us to do just that.

An influential view of ecphrasis--the literary description of art objects--chiefly treats it as a way for authors to write about their own texts without appearing to do so, and even insist upon the aesthetic dominance of the literary text over the visual image. However, when considering its use in ancient Roman literature, this interpretation proves insufficient. The Captor's Image argues for the need to see Roman ecphrasis, with its prevalent focus on Hellenic images, as a site of subtle, ongoing competition between Greek and Roman cultures. Through close readings of ecphrases in a wide range of Latin authors--from Plautus, Catullus, and Horace to Vergil, Ovid, and Martial, among others--Dufallo contends that Roman ecphrasis reveals an ambivalent receptivity to Greek culture, an attitude with implications for the shifting notions of Roman identity in the Republican and Imperial periods. Individual chapters explore how the simple assumption of a self-asserting ecphrastic text is called into question by comic performance, intentionally inconsistent narrative, satire, Greek religious iconography, the contradictory associations of epic imagery, and the author's subjection to a patron. Visual material such as wall painting, statuary, and drinkware vividly contextualizes the discussion. As the first book-length treatment of artistic ecphrasis at Rome, The Captor's Image resituates a major literary trope within its hybrid cultural context while advancing the idea of ecphrasis as a cultural practice through which the Romans sought to redefine their identity with, and against, Greekness.

This book (hardcover) is part of the TREDITION CLASSICS. It contains classical literature works from over two thousand years. Most of these titles have been out of print and off the bookstore shelves for decades. The book series is intended to preserve the cultural legacy and to promote the timeless works of classical literature. Readers of a TREDITION CLASSICS book support the mission to save many of the amazing works of world literature from oblivion. With this series, tredition intends to make thousands of international literature classics available in printed format again - worldwide.

Aristotle's theory of eternal continuous motion and his argument from everlasting change and motion to the existence of an unmoved primary cause of motion, provided in book VIII of his Physics, is one of the most influential and persistent doctrines of ancient Greek philosophy. Nevertheless, the exact wording of Aristotle's discourse is doubtful and contentious at many places. The present critical edition of Ishaq ibn Hunayn's Arabic translation (9th c.) is supposed to replace the faulty edition by A. Badawi and aims at contributing to the clarification of these textual difficulties by means of a detailed collation of the Arabic text with the most important Greek manuscripts, supported by comprehensive Greek and Arabic glossaries.

Virgil's Georgics depicts the world and its peoples in great detail, but this geographical interest has received little detailed scholarly attention. Hundreds of years later, readers in the British empire used the poem to reflect upon their travels in acts of imagination no less political than Virgil's own. Virgil's Map combines a comprehensive survey of the literary, economic, and political geography of the Georgics with a case study of its British imperial reception c. 1840-1930. Part One charts the poem's geographical interests in relation to Roman power in and beyond the Mediterranean; shifting readers' attention away from Rome, it explores how the Georgics can draw attention to alternative, non-Roman histories. Part Two examines how British travellers quoted directly from the poem to describe peoples and places across the world, at times equating the colonial subjects of European empires to the 'happy farmers' of Virgil's poem, perceived to be unaware, and in need, of the blessings of colonial rule. Drawing attention to the depoliticization of the poem in scholarly discourse, and using newly discovered archival material, this interdisciplinary work seeks to re-politicize both the poem and its history in service of a decolonizing pedagogy. Its unique dual focus allows for an extended exploration, not just of geography and empire, but of Europe's long relationship with the wider world.

Interest in food and drink as an academic discipline has been growing significantly in recent years. This sourcebook is a unique asset to many courses on food as it offers a thematic approach to eating and drinking in antiquity. For classics courses focusing on ancient social history to introductory courses on the history of food and drink, as well as those offerings with a strong sociological or anthropological approach this volume provides an unparalleled compilation of essential source material. The chronological scope of the excerpts extends from Homer in the Eighth Century BCE to the Roman emperor Constantine in the Fourth Century CE. Each thematic chapter consists of an introduction along with a bibliography of suggested readings. Translated excerpts are then presented accompanied by an explanatory background paragraph identifying the author and context of each passage. Most of the evidence is literary, but additional sources - inscriptional, legal and religious - are also included.

The Confucian-Legalist State analyzes the history of China between the 11th century BCE and 1911 under the guidance of a new theory of social change. It centers on two questions. First, how and why China was unified and developed into a bureaucratic empire under the state of Qin in 221 BCE? Second, how was it that, until the nineteenth century, the political and cultural structure of China that was institutionalized during the Western Han dynasty (206 BCE - 8 CE) showed great resilience, despite great changes in demography, socioeconomic structure, ethnic composition, market relations, religious landscapes, technology, and in other respects brought by rebellions or nomadic conquests? In addressing these two questions, author Dingxin Zhao also explains numerous other historical patterns of China, including but not limited to the nature of ancient China's interstate relations, the logics behind the rising importance of imperil Confucianism during the Western Han dynasty and behind the formation of Neo-Confucian society during the Song dynasty (960-1279 CE), the changing nature of China's religious ecology under the age of Buddhism and Neo-Confucianism, the pattern of interactions between nomads and sedentary Chinese empires, the rise and dominance of civilian government, and China's inability to develop industrial capitalism without the coercion of Western imperialism.

Do you believe in love at first sight? The Greeks and the Romans certainly did. But far from enjoying this romantic moment carefree, they saw it as a cruel experience and an infection. Then what are the symptoms of falling in love? Are there any remedies? Any form of immunity? This book explores the conception of love (eros) as a physical, emotional, and mental disease, a social-ethical disorder, and a literary unorthodoxy in Greek and Latin literature. Through illustrative case studies, the contributors to this volume examine two distinct, yet historically and poetically interrelated traditions of 'pathological love': lovesickness as/similar to disease and deviant sexuality described in nosologic terms. The chapters represent a wide range of genres (lyric poetry, philosophy, oratory, comedy, tragedy, elegy, satire, novel, and of course medical literature) and a fascinating synthesis of methodologies and approaches, including textual criticism, comparative philology, narratology, performance theory, and social history. The book closes with an anthology of Greek and Latin passages on pathological eros. While primarily aimed at an academic readership, the book is accessible to anyone interested in Classics and/or the theme of love.