Although the paradoxical reality of warfare may elude definition, since antiquity war has been a constitutive element of Western culture; seen from a historical perspective, it gives access to a broad array of tensions between various modelsof knowledge and differentkinds of tradition. The essays in this volume approach the phenomenon of war from antiquity to Clausewitz from the perspective of a variety of disciplines. Particular attention is given to texts, images, and their interaction.

The relationship between theory and practice, in other words between norms indicated in a text and their extra-textual application, is one of the most fascinating issues in the history and theory of science. Yet this aspect has often been taken for granted and never explored in depth. The essays contained in this volume provide a complex and nuanced discussion of this relationship as it emerges in ancient Greek and Roman culture in a number of fields, such as agriculture, architecture, the art of love, astronomy, ethics, mechanics, medicine, pharmacology. The main focus is on the textuality of processes of the transmission of knowledge and its application in various fields. Given that a text always contains complex and destabilising aspects that cannot be reduced to the specific subject matter it discusses, to what extent can and do ancient texts support extra-textual applicability?

This volume makes a powerful argument for epitome (combining textual dismemberment and re-composition) as a broad hermeneutic field encompassing multifarious historical, conceptual and aesthetical concerns. The contributors gather from across the globe to present case studies of the 'summing up' of cultural artefacts, literary and artistic, in epitomic writing, and as a collective they demonstrate the importance of this genre that has been largely overlooked by scholars. The volume is divided into five sections: the first showcases the broad range of fields from which epitomic analysis can be made, from classics to postmodernism to cultural memory studies; the second focuses in on epitome as dismemberment in writing from late antiquity to the modern day; the third considers a 'productive negativity' of epitomic writings and how they are useful tools for investigating the very borders and paradoxes of language; the fourth brings this to bear on materiality; the fifth considers re-composition as a counterpart to dismemberment and problematises it. Across the volume, examples are taken from important late antique writers such as Ausonius, Clement of Alexandria, Macrobius, Nepos, Nonius Marcellus and Symphosius, and from modern authors such as Antonin Artaud, Barthes, Nabokov and Pascal Quignard. Epitomic writings about art from decorated tabulae to sarcophagi are also included, as are epitomic images themselves in the form of manuscript illustrations that sum up their text.

This volume makes a powerful argument for epitome (combining textual dismemberment and re-composition) as a broad hermeneutic field encompassing multifarious historical, conceptual and aesthetical concerns. The contributors gather from across the globe to present case studies of the 'summing up' of cultural artefacts, literary and artistic, in epitomic writing, and as a collective they demonstrate the importance of this genre that has been largely overlooked by scholars. The volume is divided into five sections: the first showcases the broad range of fields from which epitomic analysis can be made, from classics to postmodernism to cultural memory studies; the second focuses in on epitome as dismemberment in writing from late antiquity to the modern day; the third considers a 'productive negativity' of epitomic writings and how they are useful tools for investigating the very borders and paradoxes of language; the fourth brings this to bear on materiality; the fifth considers re-composition as a counterpart to dismemberment and problematises it. Across the volume, examples are taken from important late antique writers such as Ausonius, Clement of Alexandria, Macrobius, Nepos, Nonius Marcellus and Symphosius, and from modern authors such as Antonin Artaud, Barthes, Nabokov and Pascal Quignard. Epitomic writings about art from decorated tabulae to sarcophagi are also included, as are epitomic images themselves in the form of manuscript illustrations that sum up their text.

Perpetua's Passions is a collection of studies about Perpetua, a young female Christian martyr who was executed in 203 AD. Like her spiritual guide, Saturus, Perpetua left a diary, and a few years after their deaths a fellow Christian collected these writings and supplied them with an introduction and epilogue: the so-called Passion of Perpetua. The result is one of the most fascinating and enigmatic works of antiquity, which the present volume examines from a wide range of perspectives: literary, narratological, historical, religious, psychological, and philosophical viewpoints follow upon a newly edited text and English translation (by Joseph Farrell and Craig Williams). This innovative treatment by a number of distinguished scholars not only complements its unique subject, but constitutes a kind of laboratory of new approaches to ancient texts.

No scholar today would describe late antiquity as an age of "decline and fall," as Gibbon did; instead, to use Marrou's term, it is seen as an "other antiquity," which deserves to be investigated on its own terms. Yet the idea of a decadent period, accompanied by a fascination for the image of antiquity on the wane, continues to live in scholarly minds, as is suggested, after all, by the recurring insistence on the point that late antiquity was not a period of decline. This collection of papers engages in a productive way with the fascination exerted by the concept of an era in decline and a literary and artistic fin-de-siecle atmosphere, evoked in the very title 'Decadence'. Whether this fascination is seen as a question of the history of reception or as an ongoing phenomenon, it rarely emerges to the surface of scholarly discussions. This volume invites us to reconsider these questions by making decadent late antiquity a paradigm of interpretation in connection with a conscious and sophisticated re-use of the history of reception.