This introduction to the Ancient Greek economy has proved popular in France, and has also been translated into Italian and Greek; this first English edition is of the second French edition of 2007. Migeotte tries to avoid getting bogged down in the theoretical debates which have characterised the last half-century of research on the ancient economy, instead providing a survey first of institutions and frameworks (the polis in particular) and then of the different sectors of the economy (agriculture, crafts, trade), he goes back to the primary sources and archaeology, allowing the reader to form their own impressions, as well as setting out his own more nuanced ideas. Above all he emphasises the diversity of the Ancient Greek economy and the co-existence of traits which appear both primitive and proto-capitalist.

Pericles has had the rare distinction of giving his name to an entire period of history, embodying what has often been taken as the golden age of the ancient Greek world. "Periclean" Athens witnessed tumultuous political and military events, and achievements of the highest order in philosophy, drama, poetry, oratory, and architecture. "Pericles of Athens" is the first book in more than two decades to reassess the life and legacy of one of the greatest generals, orators, and statesmen of the classical world.

In this compelling critical biography, Vincent Azoulay provides an unforgettable portrait of Pericles and his turbulent era, shedding light on his powerful family, his patronage of the arts, and his unrivaled influence on Athenian politics and culture. He takes a fresh look at both the classical and modern reception of Pericles, recognizing his achievements as well as his failings while deftly avoiding the adulatory or hypercritical positions staked out by some scholars today. From Thucydides and Plutarch to Voltaire and Hegel, ancient and modern authors have questioned the great statesman's relationship with democracy and Athenian society. Did Pericles hold supreme power over willing masses or was he just a gifted representative of popular aspirations? Was Periclean Athens a democracy in name only, as Thucydides suggests? This is the enigma that Azoulay investigates in this groundbreaking book.

"Pericles of Athens" offers a balanced look at the complex life and afterlife of the legendary "first citizen of Athens" who presided over the birth of democracy.

Jean-Pierre Vernant delineates a compelling new vision of ancient Greece that takes us far from the calm and familiar images of Polykleitos and the Parthenon, and reveals a culture of slavery, of blood sacrifice, of perpetual and ritualized warfare, of ceremonial hunting and ecstasies.In his provocative discussions of various institutions and practices including war, marriage, and the city state, Vernant unveils a complex and previously unexplored intersection of the religious, social, and political structures of ancient Greece. He concludes with a genealogy of the study of myth from antiquity to the present, and offers a critique of structuralism.Jean-Pierre Vernant is Professor Emeritus of Comparative Study of Ancient Religions at the College de France in Paris.

A classic work that rereads questions of "muthos" and "logos" in multifaceted contexts. When Jean-Pierre Vernant first published Myth and Thought among the Greeks in 1965, it transformed the field of ancient Greek scholarship, calling forth a new way to think about Greek myth and thought. In eighteen essays-three of which, along with a new preface, are translated into English for the first time-Vernant freed the subject of ancient Greece from its philological chains and reread the questions of "muthos" and "logos" within multifaced and transdisciplinary contexts-of religion, ritual, and art, philosophy, science, social and economic institutions, and historical psychology. A major contribution to both the humanities and the social sciences, Myth and Thought among the Greeks aims to come to terms with a single, essential question: How were individual persons in ancient Greece inseparable from a social and cultural environment of which they were simultaneously the creators and products? Seven themes organize this stellar work-from "Myth Structures" and "Mythic Aspects of Memory and Time" to "The Organization of Space," "Work and Technological Thought," and "Personal Identity and Religion." A master storyteller, an innovative, precise, and original thinker, Vernant continues to change the narratives we tell about the histories of civilizations and the histories of human beings in their individual and collective identities.

Successor to Claude Levi-Strausa at the College de France, Philippe Descola has become one of the most important anthropologists working today, and Beyond Nature and Culture has been a major influence in European intellectual life since its publication in 2005. Here, finally, it is brought to English-language readers. At its heart is a question central to both anthropology and philosophy: what is the relationship between nature and culture? Culture - as a collective human making, of art, language, and so forth - is often seen as essentially different than nature, which is portrayed as a collective of the nonhuman world, of plants, animals, geology, and natural forces. Descola shows this essential difference to be, however, not only a specifically Western notion, but also a very recent one. Drawing on ethnographic examples from around the world and theoretical understandings from cognitive science, structural analysis, and phenomenology, he formulates a sophisticated new framework, the "four ontologies" - animism, totemism, naturalism, and analogism - to account for all the ways we relate ourselves to nature. By thinking beyond nature and culture as a simple dichotomy, Descola offers nothing short of a fundamental reformulation by which anthropologists and philosophers can see the world afresh.

Between becoming king of Macedonia in 336 BC and his death in 323, Alexander the Great conquered not only the Greek city states but also Persia and as far east as the Punjab in India, as far south as Egypt. Claude Mosse describes the progress of Alexander's career in the first part of her book, while the second examines the effects of his conquests on the history of the ancient, medieval and modern world. Central to the book is the myth of Alexander and how the image of Alexander was created and evolved over the centuries. From the illustrious son of Zeus down to the absolute monarch idealised by Louis XIV, from the valiant knight of the crusaders to the Moslem philosopher-king, the author reveals the gamut of contrasts that make up the legend of this extraordinary hero of history and myth.

Pericles has the rare distinction of giving his name to an entire period of history, embodying what has often been taken as the golden age of the ancient Greek world. "Periclean" Athens witnessed tumultuous political and military events, and achievements of the highest order in philosophy, drama, poetry, oratory, and architecture. Pericles of Athens is the first book in decades to reassess the life and legacy of one of the greatest generals, orators, and statesmen of the classical world. In this compelling critical biography, Vincent Azoulay takes a fresh look at both the classical and modern reception of Pericles, recognizing his achievements as well as his failings. From Thucydides and Plutarch to Voltaire and Hegel, ancient and modern authors have questioned Pericles's relationship with democracy and Athenian society. This is the enigma that Azoulay investigates in this groundbreaking book. Pericles of Athens offers a balanced look at the complex life and afterlife of the legendary "first citizen of Athens."

This is the first in a series of books in which one of the most influential of contemporary art theorists revised from within the conceptions underlying the history of art. The author's basic idea is that the rigor of linear perspective cannot encompass all of visual experience and that it could be said to generate an oppositional factor with which it interacts dialectically: the cloud.
On a literal level, this could be represented by the absence of the sky, as in Brunelleschi's legendary first experiments with panels using perspective. Or it could be the vaporous swathes that Correggio uses to mediate between the viewer on earth and the heavenly prospect in his frescoed domes at Parma. Insofar as the cloud is a semiotic operator, interacting with the linear order of perspective, it also becomes a dynamic agent facilitating the creation of new types of pictorial space. (Damisch puts the signifer cloud between slashes to indicate that he deals with clouds as signs instead of realistic elements.)
This way of looking at the history of painting is especially fruitful for the Renaissance and Baroque periods, but it is also valuable for looking at such junctures as the nineteenth century. For example, Damisch invokes Ruskin and Turner, who carry out both in theory and in practice a revision of the conditions of appearances of the cloud as a landscape feature. Even for the twentieth century, he has illuminating things to say about how his reading of cloud applies to the painters Leger and Batthus. In short, Damisch achieves a brilliant and systematic demonstration of a concept of semiotic interaction that touches some of the most crucial features of the Western art tradition.

Sun Yat-sen (1866-1925), the first president of the Republic of China, has left a supremely ambivalent political and intellectual legacy--so much so that he is claimed as a Founding Father by both the present rival governments in Taipei and Beijing. In Taiwan, he is the object of a veritable cult; in the People's Republic of China, he is paid homage as "pioneer of the revolution," making possible the Party's claims of continuity with the national past. Western scholars, on the other hand, have tended to question the myth of Sun Yat-sen by stressing the man's weaknesses, the thinker's incoherences, and the revolutionary leader's many failures.
This book argues that the life and work of Sun Yat-sen have been distorted both by the creation of the myth and by the attempts at demythification. Its aim is to provide a fresh overall evaluation of the man and the events that turned an adventurer into the founder of the Chinese Republic and the leader of a great nationalist movement. The Sun Yat-sen who emerges from this rigorously researched account is a muddled politician, an opportunist with generous but confused ideas, a theorist without great originality or intellectual rigor.
But the author demonstrates that the importance of Sun Yat-sen lies elsewhere. A Cantonese raised in Hawaii and Hong Kong, he was a product of maritime China, the China of the coastal provinces and overseas communities, open to foreign influences and acutely aware of the modern Western world (he was fund-raising in Denver when the eleventh attempt to bring down the Chinese empire finally succeeded). In facing the problems of change, of imitating the West, of rejecting or adapting tradition, he instinctively grasped the aspirations of his time, understood their force, and crystallized them into practical programs.
Sun Yat-sen's gifts enabled him to foresee the danger that technology might represent to democracy, stressed the role of infrastructures (transport, energy) in economic modernization, and looked forward to a new style of diplomatic and international economic relations based upon cooperation that bypassed or absorbed old hostilities. These "utopias" of his, at which his contemporaries heartily jeered, now seem to be so many prophecies.

Rich with implications for the history of sexuality, gender issues, and patterns of hellenic literary imagining, Marcel Detienne's landmark book, first published in 1972, recast long-standing ideas about the fertility myth of Adonis. The author challenges Sir James Frazer's thesis that the vegetation god Adonis - whose premature death was mourned by women and whose resurrection marked a joyous occasion - represented the annual cycle of growth and decay in agriculture. Using the analytic tools of structuralism, Detienne shows instead that the festivals of Adonis depict a seductive but impotent and fruitless deity - whose physical ineptitude led to his death in a boar hunt, after which his body was found in a lettuce patch. Contrasting the festivals of Adonis with the solemn ones dedicated to Demeter, the goddess of grain, he reveals the former as a parody and negation of the institution of marriage. Detienne considers the short-lived gardens that Athenian women planted in mockery for Adonis's festival, and explores the function of such vegetal matter as spices, mint, myrrh, cereal, and wet plants in religious practice and in a wide selection of myths. His inquiry exposes, among many things, the way sin which women of various martial statuses were regarded and attitudes toward sexual activity ranging from "perverse" acts to marital relations.

Jean Pierre-Vernant and Pierre Vidal-Naquet are leaders in a contemporary French classical scholarship that has produced a a stunning reconfiguration of Greek thought and literature. In this work, published here as a single volume, the authors present a disturbing and decidedly non-classical reading of Greek tragedy that insists on its radical discontinuity with our own outlook and with our social, aesthetic, and psychological categories. Originally published in French in two volumes, this new single-volume edition includes revised essays from volume one and is the first English translation of both volumes.Pierre Vidal-Naquet is Director of Studies and Professor of Sociology at the Ecole Pratique des Hautes Etudes in Paris. Jean Pierre-Vernant is Professor Emeritus of Comparative Study of Ancient Religions at the College de France. Janet Lloyd is a translator and writer living in England. Distributed for Zone Books."

Between becoming king of Macedonia in 336 BC and his death in 323, Alexander the Great conquered not only the Greek city states but also Persia and as far east as the Punjab in India, as far south as Egypt. Claude Mosse describes the progress of Alexander's career in the first part of her book, while the second examines the effects of his conquests on the history of the ancient, medieval and modern world. Central to the book is the myth of Alexander and how the image of Alexander was created and evolved over the centuries. From the illustrious son of Zeus down to the absolute monarch idealised by Louis XIV, from the valiant knight of the crusaders to the Moslem philosopher-king, the author reveals the gamut of contrasts that make up the legend of this extraordinary hero of history and myth.

This investigation relies on a rash bet: to write the biography of two of the most famous statues in Antiquity, the Tyrannicides. Representing the murderers of the tyrant Hipparchus in full action, these statues erected on the Agora of Athens have been in turn worshipped, outraged, and imitated. They have known hours of glory and moments of hardships, which have transformed them into true icons of Athenian democracy. The subject of this book is the remarkable story of this group statue and the ever-changing significance of its tyrant-slaying subjects. The first part of this book, in six chapters, tells the story of the murder of Hipparchus and of the statues of the two tyrannicides from the end of the sixth century to the aftermath of the restoration of democracy in 403. The second part, in three chapters, chronicles the fate and influence of the statues from the fourth century to the end of the Roman Empire. These chapters are followed by an epilogue that reveals new life for the statues in modern art and culture, including how Nazi Germany and the Soviet Union made use of their iconography. By tracing the long trajectory of the tyrannicides - in deed and art - Azoulay provides a rich and fascinating microhistory that will be of interest to readers of classical art and history.

"The Poetics of Eros in Ancient Greece" offers the first comprehensive inquiry into the deity of sexual love, a power that permeated daily Greek life. Avoiding Foucault's philosophical paradigm of dominance/submission, Claude Calame uses an anthropological and linguistic approach to re-create indigenous categories of erotic love. He maintains that Eros, the joyful companion of Aphrodite, was a divine figure around which poets constructed a physiology of desire that functioned in specific ways within a network of social relations. Calame begins by showing how poetry and iconography gave a rich variety of expression to the concept of Eros, then delivers a history of the deity's roles within social and political institutions, and concludes with a discussion of an Eros-centered metaphysics.

Calame's treatment of archaic and classical Greek institutions reveals Eros at work in initiation rites and celebrations, educational practices, the Dionysiac theater of tragedy and comedy, and in real and imagined spatial settings. For men, Eros functioned particularly in the symposium and the gymnasium, places where men and boys interacted and where future citizens were educated. The household was the setting where girls, brides, and adult wives learned their erotic roles--as such it provides the context for understanding female rites of passage and the problematics of sexuality in conjugal relations. Through analyses of both Greek language and practices, Calame offers a fresh, subtle reading of relations between individuals as well as a quick-paced and fascinating overview of Eros in Greek society at large.

Son of a mortal king and an immortal Muse, Orpheus possessed a gift for music unmatched among humans; with his lyre he could turn the course of rivers, drown the fatal song of the Sirens, and charm the denizens of the underworld. The allure of his music speaks through the myths and stories of the Greeks and Romans, who tell of his mysterious compositions, with lyrics that only the initiated could understand after undergoing secret rites. Where readers of subsequent centuries have been content to understand these mysteries as the stuff of obfuscation or mere folderol, Marcel Detienne finds in the writing of Orpheus a key to the thinking of the ancient Greeks.

A profound understanding of ancient Greek myth in its cultural contexts allows Detienne to recover a cultural system from fragments and ephemera--to reproduce, with sensitivity to variation and nuance, the full richness of the mythological repertoire flowing from the writing of Orpheus. His investigation moves from the Orphic writings to broader mysteries: how Greek gods became myths, how myths informed later religious thinking, and how myths have come into play in polemics between competing religions. An eloquent answer to some of the most vexing questions about the myth of Orpheus and its far-reaching ramifications through time and culture, Detienne's work ultimately offers a major rethinking of Greek mythology.

This new edition of Portuguese: An Essential Grammar is a practical reference guide to the most important aspects of modern European Portuguese. Combining traditional and function-based grammar, the book sets out the complexities of Portuguese in short, readable sections. Explanations are clear, free from jargon and substantiated by examples. Throughout, the emphasis is on Portuguese as used by native speakers. This third edition: reflects the new orthographic agreement; includes an expanded section on verbs and pronouns, as well as a new section on syntax; provides authentic examples to illustrate grammar in context; focuses on Portuguese as used in Portugal and Africa; links to Basic Portuguese: A Grammar and Workbook, which offers a valuable set of language practice exercises; includes a detailed contents list and index for easy access to information. An important addition to Routledge's collection of grammars on the variants of Portuguese, this is an ideal reference source for the learner and user of European Portuguese. It is suitable for either independent study or for students in schools, colleges, universities and adult classes of all types.

Myths are not simple narrative plots. In ancient Greece, as in other traditional societies, these tales existed only in the poetic or artistic forms in which they were set down. To read them from an anthropological point of view means to study their meaning according to their forms of expression - epic recitation, ritual celebration of the victory of an athlete, tragic performance, erudite Alexandrian poetry, antiquarian prose text; in other words, to study the functions of Greek myths in their permanent retelling and reshaping. Falling between social reality and cultural fiction, Greek myths were evolving creations, constantly adapting themselves to new conditions of performance. Using myths such as those of Persephone, Bellerophon, Helen and Teiresias, Claude Calame presents an overview of Greek mythology as a category inseparable from the literature in which so much of it is found. The French edition of this book was first published in 2000.

Herodotus's great work is not only an account of the momentous historical conflict between the Greeks and the Persians but also the earliest sustained exploration in the West of the problem of cultural difference. Francois Hartog asks fundamental questions about how Herodotus represented this difference. How did he and his readers understand the customs and beliefs of those who were not Greek? How did the historian convince his readers that his account of other peoples was reliable? How is it possible to comprehend a way of life radically different from one's own? What are the linguistic, rhetorical, and philosophical means by which Herodotus fashions his text into a mirror of the marginal and unknown? In answering these questions, Hartog transforms our understanding of the "father of history." His Herodotus is less the chronicler of a victorious Greece than a brilliant writer in pursuit of otherness.

This fascinating book collects and translates most of the extant written Graeco-Roman material on human beings, divinities, animals, and other creatures who were said to have been both female and male. Luc Brisson provides a commentary that situates this rich source material within its historical and intellectual contexts. These selections--from mythological, philosophical, historical, and anecdotal sources--describe cases of either simultaneous dual sexuality, as in androgyny and in hermaphroditism, or successive dual sexuality, as in the case of Tiresias (the blind Theban prophet), which are found through the whole span of Graeco-Roman antiquity. "Sexual Ambivalence "is an invaluable sourcebook that gathers this suggestive, yet hard to find, material in one convenient place.
This book presents some very obscure but wonderfully strange material. There is the ghost story about a father who returns from the dead to devour his dual-sexed son in the public square, leaving behind only the head, which proceeds to deliver a prophecy from its position on the ground. In addition to including such familiar sources as the myths of Salmacis and Hermaphroditus as told in Ovid's "Metamorphoses "and Aristophanes' myth of the origins of the sexes and sexuality in Plato's "Symposium, "Brisson also discusses cosmogonic mythology in Hesiodic poetry, the Orphic "Rhapsodies, "Gnosticism, the "Hermetic Corpus, "and the so-called "Chaldean Oracles. "He presents the manifold variants of the myth of Tiresias, as well as many other sources.
Brisson quotes this material at length and discusses its significance in Graeco-Roman myth and philosophy. These ancient stories open a window onto a world without the sexual oppositions of male and female, a paradise of unity and self-containment, as well as onto the peculiar world of go-betweens like the prophet Tiresias. They deepen our awareness of the extent to which the polarity of sexuality colors our entire perception of the world, as it did in antiquity, and as it does for us now. This provocative material is profoundly relevant to our thinking today.

100+ Fun Ideas for Practising Primary Languages through Drama and Performance provides teachers with effective and creative language learning activities based on drama, dance and performance. The activities are linked to the Foreign Language Programmes of Study in the September 2014 National Curriculum and show how drama, performance and art can be used to achieve substantial progression in all four language learning skills. The 100+ fun ideas are clearly laid out and simple to deliver, providing an invaluable resource to non-specialist and specialist teachers alike.

This is the first in a series of books in which one of the most influential of contemporary art theorists revised from within the conceptions underlying the history of art. The author's basic idea is that the rigor of linear perspective cannot encompass all of visual experience and that it could be said to generate an oppositional factor with which it interacts dialectically: the cloud.
On a literal level, this could be represented by the absence of the sky, as in Brunelleschi's legendary first experiments with panels using perspective. Or it could be the vaporous swathes that Correggio uses to mediate between the viewer on earth and the heavenly prospect in his frescoed domes at Parma. Insofar as the cloud is a semiotic operator, interacting with the linear order of perspective, it also becomes a dynamic agent facilitating the creation of new types of pictorial space. (Damisch puts the signifer cloud between slashes to indicate that he deals with clouds as signs instead of realistic elements.)
This way of looking at the history of painting is especially fruitful for the Renaissance and Baroque periods, but it is also valuable for looking at such junctures as the nineteenth century. For example, Damisch invokes Ruskin and Turner, who carry out both in theory and in practice a revision of the conditions of appearances of the cloud as a landscape feature. Even for the twentieth century, he has illuminating things to say about how his reading of cloud applies to the painters Leger and Batthus. In short, Damisch achieves a brilliant and systematic demonstration of a concept of semiotic interaction that touches some of the most crucial features of the Western art tradition.

Available in English for the first time, anthropologist Carlo Severi's The Chimera Principle breaks new theoretical ground for the study of ritual, iconographic technologies, and oral traditions among nonliterate peoples. Setting himself against a tradition that has long seen the memory of people "without writing" - which relies on such ephemeral records as ornaments, body painting, and masks - as fundamentally disordered or doomed to failure, he argues strenuously that ritual actions in these societies pragmatically produce religious meaning and that they demonstrate what he calls a "chimeric" imagination. Deploying philosophical and ethnographic theory, Severi unfolds new approaches to research in the anthropology of ritual and memory, ultimately building a new theory of imagination and an original anthropology of thought. This English-language edition, beautifully translated by Janet Lloyd and complete with a foreword by David Graeber, will spark widespread debate and be heralded as an instant classic for anthropologists, historians, and philosophers.

In "Comparing the Incomparable," Marcel Detienne challenges the cordoning off of disciplines that prevent us from asking trans-cultural questions that would permit one society to shed light on another. Some years ago, he undertook the study of "construction sites" grouped around general questions to be put to historians and ethnologists about their particular areas of expertise. Four of these comparative experiments are presented in the chapters of this book. The first concerns myths and practices related to the founding of cities or sacred spaces from Africa to Japan to Ancient Greece. The second looks at "regimes of historicity" and asks why we speak of history and what we mean by it, which leads to a comparison of cultural philosophies and of the ways different cultures express themselves, be they oral, written, or visual. The third chapter, following in the footsteps of comparative philologist Georges Dumezil, turns to polytheistic pantheons, arguing that we should not only look at the gods in and of themselves but also at the relations between them. The final section of the book examines how, from Ancient Greek democracy to the Ochollo of Ethiopia to the French Revolution, peoples form a consciousness of themselves that translates into assembly practices. A deliberately post-deconstructionist manifesto against the dangers of incommensurability, Detienne argues for and engages in the constructive comparison of societies of a great temporal and spatial diversity. The result testifies to what new and illuminating insights his comparatist method can produce.

In "Comparing the Incomparable," Marcel Detienne challenges the cordoning off of disciplines that prevent us from asking trans-cultural questions that would permit one society to shed light on another. Some years ago, he undertook the study of "construction sites" grouped around general questions to be put to historians and ethnologists about their particular areas of expertise. Four of these comparative experiments are presented in the chapters of this book. The first concerns myths and practices related to the founding of cities or sacred spaces from Africa to Japan to Ancient Greece. The second looks at "regimes of historicity" and asks why we speak of history and what we mean by it, which leads to a comparison of cultural philosophies and of the ways different cultures express themselves, be they oral, written, or visual. The third chapter, following in the footsteps of comparative philologist Georges Dumezil, turns to polytheistic pantheons, arguing that we should not only look at the gods in and of themselves but also at the relations between them. The final section of the book examines how, from Ancient Greek democracy to the Ochollo of Ethiopia to the French Revolution, peoples form a consciousness of themselves that translates into assembly practices. A deliberately post-deconstructionist manifesto against the dangers of incommensurability, Detienne argues for and engages in the constructive comparison of societies of a great temporal and spatial diversity. The result testifies to what new and illuminating insights his comparatist method can produce.

The Cult of Art in Nazi Germany presents a new interpretation of National Socialism, arguing that art in the Third Reich was not simply an instrument of the regime, but actually became a source of the racist politics upon which its ideology was founded. Through the myth of the "Aryan race," a race pronounced superior because it alone creates culture, Nazism asserted art as the sole raison d'etre of a regime defined by Hitler as the "dictatorship of genius." Michaud shows the important link between the religious nature of Nazi art and the political movement, revealing that in Nazi Germany art was considered to be less a witness of history than a force capable of producing future, the actor capable of accelerating the coming of a reality immanent to art itself.