The study of women in Graeco-Roman antiquity has a long history but many recent developments-prominent among which are the rise of feminist theory and theoretical and interpretive work in material culture-have transformed approaches to the study of women's lived experiences in antiquity. This four-volume collection brings together the best scholarship that has both established the field and moved it forward. The articles collected here are interdisciplinary, bringing into conversation the full range of evidence for women in the classical world: historical, literary, legal, medical, inscriptional, mythic, artistic (e.g., sculpture, frescoes, paintings, terracottas), and the material found in archaeological excavations, including evidence from burials, finds from houses, and the remains of food processing and textile production. Ideology is relevant to each volume, as both Greek and Roman societies had highly developed ideologies and cultural ideals that exercised profound and pervasive influence over women's lives. Social class is implicated in these ideologies in ways that are made evident in every genre of source material. Women in the Classical World, edited by two of the leading scholars in the field, presents in one reference source a complete picture of women in Ancient Greece and Rome, based on a vast of array of sources. This material has not been collected together in one place before.

This book offers a new approach to the history of Greek portraiture by focusing on portraits without names. Sheila Dillon considers the few original bronze and marble portrait statues preserved from the Classical and Hellenistic periods together with the large number of Greek portraits known only through Roman copies. This study calls into question two basic tenets of Greek portraiture: first, that it was only in the late Hellenistic period, under Roman influence, that Greek portraits exhibited a wide range of styles, including descriptive realism; and second, that in most cases, one can easily tell a subject's public role from the visual traits used in this portrait. The sculptures studied here instead show that the proliferation of portrait styles takes place much earlier, in the late Classical period, and that the identity expressed by these portraits is much more complex and layered than has previously been realized.

In this book, Sheila Dillon offers the first detailed analysis of the female portrait statue in the Greek world from the fourth century BCE to the third century CE. A major component of Greek sculptural production, particularly in the Hellenistic period, female portrait statues are mostly missing from our histories of Greek portraiture. Whereas male portraits tend to stress their subject's distinctiveness through physiognomic individuality, portraits of women are more idealized and visually homogeneous. In defining their subjects according to normative ideals of beauty rather than notions of corporeal individuality, Dillon argues that Greek portraits of women work differently than those of men and must be approached with different expectations. She examines the historical phenomenon of the commemoration of women in portrait statues and explores what these statues can tell us about Greek attitudes toward the public display of the female body.

In this book, Sheila Dillon offers the first detailed analysis of the female portrait statue in the Greek world from the fourth century BCE to the third century CE. A major component of Greek sculptural production, particularly in the Hellenistic period, female portrait statues are mostly missing from our histories of Greek portraiture. Whereas male portraits tend to stress their subject's distinctiveness through physiognomic individuality, portraits of women are more idealized and visually homogeneous. In defining their subjects according to normative ideals of beauty rather than notions of corporeal individuality, Dillon argues that Greek portraits of women work differently than those of men and must be approached with different expectations. She examines the historical phenomenon of the commemoration of women in portrait statues and explores what these statues can tell us about Greek attitudes toward the public display of the female body.

War suffused Roman life to a degree unparalleled in other ancient societies. Through a combination of obsessive discipline and frenzied (though carefully orchestrated) brutality, Rome's armies conquered most of the lands stretching from Scotland to Syria, and the Black Sea to Gibraltar. The place of war in Roman culture has been studied in historical terms, but this is the first book to examine the ways in which Romans represented war, in both visual imagery and in literary accounts. Audience reception and the reconstruction of display contexts are recurrent themes here, as is the language of images: a language that is sometimes explicit and at other times allusive in its representation of war. The chapters encompass a wide variety of art media (architecture, painting, sculpture, building, relief, coin), and they focus on the towering period of Roman power and international influence: the 3rd century B.C. to the 2nd century A.D.

This book offers a new approach to the history of Greek portraiture by focusing on portraits without names. Comprehensively illustrated, it brings together a wide range of evidence that has never before been studied as a group. Sheila Dillon considers the few original bronze and marble portrait statues preserved from the Classical and Hellenistic periods together with the large number of Greek portraits known only through Roman 'copies'. In focusing on a series of images that have previously been ignored, Dillon investigates the range of strategies and modes utilized in these portraits to construct their subject's identity. Her methods undermine two basic tenets of Greek portraiture: first, that is was only in the late Hellenistic period, under Roman influence, that Greek portraits exhibited a wide range of styles, including descriptive realism; and second, that in most cases, one can easily tell a subject's public role - that is, whether he is a philosopher of an orator - from the visual traits used in this portrait. The sculptures studied here instead show that the proliferation of portrait styles takes place much earlier, in the late Classical period; and that the identity encoded in these portraits is much more complex and layered than has previously been realized. Despite the fact that these portraits lack the one feature most prized by scholars of ancient portraiture - a name - they are evidence of utmost importance for the history of Greek portraiture.

Vital stories for hungry minds. In the first official book from BBC Radio 4's hit series The Food Programme, award-winning writer Alex Renton tells the stories of 13 key staples such as spice, oil, cocoa, bread and tomatoes, exploring their history, evolution and how our ever-growing hunger for them continues to alter our world. Look at food in a new light - as a weapon, an art form, a tool of revolution, but also a bringer of pure happiness. Discover a kaleidoscope of fascinating facts and curiosities, including the forgotten joys of lard, the secret to perfect chips and how our love of pepper led to piracy.

In 2006, the collection of 224 antiquities assembled by Walter Kempner, M.D. was donated to the Nasher Museum of Art at Duke University by Barbara Newborg, M.D. Ranging from the 3rd millennium to the 3rd century B.C.E., the collection includes Mediterranean antiquities such as Cycladic marble artifacts; Greek ceramics attributed to significant Athenian painters, including the Kleophrades Painter, the Athenian Painter, and the Matsch Painter; and carved amber likely from an Etruscan workshop. In "The Past Is Present," scholars and Duke University students present the collection, including many objects that have never been published before, and discuss its significance for art history, classics, museum studies, and archaeology. The introductory essay by Kimerly Rorschach, Director of the Nasher Museum, discusses the gift in the context of current issues surrounding the acquisition of antiquities and the aims of university museums.

Contributors
Carla Antonaccio
Elizabeth Baltes
Larissa Bonfante
Kaila Davis
Sheila Dillon
Robert Dudley
Susan Foster
Kiki Fox
Alex Jorn
Christina Kaplanis
Mary King
Anna Kivlan
Lindsay Levine
Michael Ma
Jennifer Morris
Jenifer Neils
Daven Reagan
Kimerly Rorschach
Brendan Saslow
Tyler Jo Smith
Andrew Tharler

Publication of the Nasher Museum of Art at Duke University