Who dressed as a woman in an attempt to commit adultery with Julius Caesar's wife? How did the ancient Greeks make blusher from seaweed? Just how does one wear a toga? If, as many claim, the importance of clothes lies in their detail, then this a book that no sartorially savvy Classicist should be without. Greek and Roman Dress from A to Z is an alphabetized compendium of styles and accessories that form the well-known classical image: a reference source of stitches, drapery, hairstyles, colours, fabrics and jewellery, and an analysis of the intricate system of social meanings that they comprise. The entries range in length from a few lines to a few pages and cover individual aspects of dress alongside surveys of wider topics and illuminating socio-cultural analysis, drawn from ancient art, literature and archaeology. For those who want to take their reading further, there are references to both primary sources and modern scholarship. This book is be fascinating for anyone delving into it with an interest in style and dress, and an invaluable companion for any classicist.

Who dressed as a woman in an attempt to commit adultery with Julius Caesar s wife? How did the ancient Greeks make blusher from seaweed? Just how does one wear a toga? If, as many claim, the importance of clothes lies in their detail, then this a book that no sartorially savvy Classicist should be without. Greek and Roman Dress from A to Z is an alphabetized compendium of styles and accessories that form the well-known classical image: a reference source of stitches, drapery, hairstyles, colours, fabrics and jewellery, and an analysis of the intricate system of social meanings that they comprise. The entries range in length from a few lines to a few pages and cover individual aspects of dress alongside surveys of wider topics and illuminating socio-cultural analysis, drawn from ancient art, literature and archaeology. For those who want to take their reading further, there are references to both primary sources and modern scholarship. This book is be fascinating for anyone delving into it with an interest in style and dress, and an invaluable companion for any classicist.

Can we reconstruct Roman body language? Was it the same as ours? Does body language express and reinforce gender differences and the relative positions of men and women (dominant/subordinate) in society? Can analysis of the postures and gestures of Roman statues add to our understanding of gender in the Roman world? In this book, Glenys Davies explores these questions. Using studies on body language in modern Western societies, Roman literary sources, as well as her own analysis of statues of Roman men and women in an array of guises - nude, draped, standing, seated and represented together - she offers a nuanced and complex picture of gender relations. Her study shows that gender relations in the notoriously patriarchal society of Ancient Rome were not so different from what we experience today. Her book will be of interest to scholars of the classical world, gender history, art history, and body language in its social context.

The 14 papers in this volume are taken from a conference held in Edinburgh in 2004. When the organisers called for papers for a conference on Games and Festivals they had no idea the response would be so varied - ranging from Minoan bull leaping to Samoan kilikiti - or that the papers would turn out to be so thematically interrelated. The response has shown that it is not so much the mechanics of the games or the actions carried out at ancient festivals that fascinate modern scholars as their social and political significance and the way the theme could be manipulated by writers and artists. Games and festivals were at the heart of Classical societies, playing a much more important role than in modern western societies (even taking football into account). Festivals structured the year and were inextricably bound up with the structures of society. Games and festivals are also closely linked, as most competitive games took place at a festival, or at least in a religious context, even, it seems, cock fighting and dicing, and many festivals contained elements of competition. Competitiveness pervades Greek and Roman life - and this is reflected in literature and art. In this, an Olympic year, a new selection of papers on Classical games and festivals is especially welcome. The 12 papers are: (1) Grasping the Bull by the Horns: Minoan Bull Sports Eleanor Loughlin; (2) Festival? What Festival? Reading Dance Imagery as Evidence Tyler Jo Smith; (3) Professional Foul: Persona in Pindar Grainne McLaughlin; (4) Orestes the Contender: Chariot Racing and Politics in Fifth Century Athens and Sophocles' "Electra" Eleanor Okell; (5) From Agonistes to Agonios: Hermes, Chaos and Conflict in Competitive Games and Festivals Arlene Allan; (6) Dionysiac Festivals in Aristophanes' "Acharnians" Greta Ham; (7) The Perils of Pittalakos: Settings of Cock Fighting and Dicing in Classical Athens Nick Fisher; (8) Civic Self-Representation in the Hellenistic World: The Festival of Artemis Leukophryene Geoffrey Sumi; (9) Roman Games and Greek Origins in Dionysius of Halicarnassus Clemence Schultze; (10) Epic Games and Real Games in Statius' "Thebaid" 6 and Virgil's "Aeneid" 5 Helen Lovatt; (11) Sport or Showbiz? The "naumachiae" of Imperial Rome Francesca Garello; (12) Dionysiac Scenes on Sagalassian "Oinophoroi" from Seleuceia Sid&