In recent years, there has been no issue that has convulsed academia and its role in society more stridently than the personal politics of its institutions: who has access to education? How does who you are change what you study and how you engage with it? How does scholarship reflect the politics of society - how should it? These new essays from one of the best-known scholars of ancient Greece offer a refreshing and provocative contribution to these discussions. What Is a Jewish Classicist? analyses how the personal voice of a scholar plays a role in scholarship, how religion and cultural identity are acted out within an academic discipline, and how translation, the heart of any engagement with the literature of antiquity, is a transformational practice. Topical, engaging, revelatory, this book opens a sharp and personal perspective on how and why the study of antiquity has become such a battlefield in contemporary culture. The first essay looks at how academics can and should talk about themselves, and how such positionality affects a scholar's work - can anyone can tell his or her own story with enough self-consciousness, sophistication and care? The second essay, which gives the book its title, takes a more socio-anthropological approach to the discipline, and asks how its patterns of inclusion and exclusion, its strategies of identification and recognition, have contributed to the shape of the discipline of classics. This initial enquiry opens into a fascinating history of change - how Jews were excluded from the discipline for many years but gradually after the Second World war became more easily assimilated into it. This in turn raises difficult questions for the current focus on race and colour as the defining aspects of personal identification, and about how academia reflects or contributes to the broader politics of society. The third essay takes a different historical approach and looks at the infrastructure or technology of the discipline through one of its integral and time-honoured practices, namely, translation. It discusses how translation, far from being a mere technique, is a transformational activity that helps make each classicist what they are. Indeed, each generation needs its own translations as each era redefines its relation to antiquity.

In Being Urban, Simon Goldhill and his team of outstanding urbanists explore the meaning of the urban condition, with particular reference to the Middle East. As Goldhill explains in his introduction, 'What is a good city?', five questions motivate the book: How can a city be systematically planned and yet maintain a possibility of flexibility, change, and the wellbeing of citizens? How does the city represent itself to itself, and image its past, its present and its future? What is it to dwell in, and experience, a city? How does violence erupt in and to a city, and what strategies of reconciliation and reconstruction can be employed? And finally, what is the relationship between the infrastructure of the city and the political process? Following the introduction, the twelve chapters are grouped into four sections: Engagement and Space; Infrastructure and Space; Conflict and Structures; and Curating the City. Through each chapter, the contributors reflect on aspects of urban infrastructure and culture, citizenship, belonging and exclusion, politics and conflict, with examples from across the Middle East, from Cairo to Tehran, Tel Aviv to Istanbul. Not only will Being Urban further understanding of the topography of citizenship in the Middle East and beyond, it will also contribute to answering one of today's key questions: What Is A Good City?

"We can begin with a kiss, though this will not turn out to be a love story, at least not a love story of anything like the usual kind." So begins A Very Queer Family Indeed, which introduces us to the extraordinary Benson family. Edward White Benson became Archbishop of Canterbury at the height of Queen Victoria's reign, while his wife, Mary, was renowned for her wit and charm the prime minister once wondered whether she was "the cleverest woman in England or in Europe." The couple's six precocious children included E. F. Benson, celebrated creator of the Mapp and Lucia novels, and Margaret Benson, the first published female Egyptologist. What interests Simon Goldhill most, however, is what went on behind the scene, which was even more unusual than anyone could imagine. Inveterate writers, the Benson family spun out novels, essays, and thousands of letters that open stunning new perspectives including what it might mean for an adult to kiss and propose marriage to a twelve-year-old girl, how religion in a family could support or destroy relationships, or how the death of a child could be celebrated. No other family has left such detailed records about their most intimate moments, and in these remarkable accounts, we see how family life and a family's understanding of itself took shape during a time when psychoanalysis, scientific and historical challenges to religion, and new ways of thinking about society were developing. This is the story of the Bensons, but it is also more than that it is the story of how society transitioned from the high Victorian period into modernity.

'Dialogue' was invented as a written form in democratic Athens and made a celebrated and popular literary and philosophical style by Plato. Yet it almost completely disappeared in the Christian empire of late antiquity. This book, the first general and systematic study of the genre in antiquity, asks: who wrote dialogues and why? Why did dialogue no longer attract writers in the later period in the same way? Investigating dialogue goes to the heart of the central issues of power, authority, openness and playfulness in changing cultural contexts. This book analyses the relationship between literary form and cultural authority in a new and exciting way, and encourages closer reflection about the purpose of dialogue in its wider social, cultural and religious contexts in today's world.

The nineteenth century was a period in which ideas of history and time were challenged as never before. This is the first book to explore how the study of classical antiquity and the study of the Bible together formed an image of the past which became central to Victorian self-understanding. These specially commissioned, multi-disciplinary essays brilliantly reveal the richness of Victorian thinking about the past and how important these models of antiquity were in the expression of modernity. In an age of progress, cultural anxiety and cultural hope was fuelled by the shock of the old – new discoveries about the deep past, and new ways of thinking about humanity's place in history. The volume provides a rich and readable feast which will be fundamental to all those seeking a greater understanding of the Victorians, as well as of the reception of classics and the Bible.

Simon Goldhill offers a fresh and exciting perspective on how the Victorians used material culture to express their sense of the past in an age of progress, especially the biblical past and the past of classical antiquity. From Pompeian skulls on a writer's desk, to religious paraphernalia in churches, new photographic images of the Holy Land and the remaking of the cityscape of Jerusalem and Britain, Goldhill explores the remarkable way in which the nineteenth century's sense of history was reinvented through things. The Buried Life of Things shows how new technologies changed how history was discovered and analysed, and how material objects could flare into significance in bitter controversies, and then fade into obscurity and disregard again. This book offers a new route into understanding the Victorians' complex and often bizarre attempts to use their past to express their own modernity.

In Being Urban, Simon Goldhill and his team of outstanding urbanists explore the meaning of the urban condition, with particular reference to the Middle East. As Goldhill explains in his introduction, 'What is a good city?', five questions motivate the book: How can a city be systematically planned and yet maintain a possibility of flexibility, change, and the wellbeing of citizens? How does the city represent itself to itself, and image its past, its present and its future? What is it to dwell in, and experience, a city? How does violence erupt in and to a city, and what strategies of reconciliation and reconstruction can be employed? And finally, what is the relationship between the infrastructure of the city and the political process? Following the introduction, the twelve chapters are grouped into four sections: Engagement and Space; Infrastructure and Space; Conflict and Structures; and Curating the City. Through each chapter, the contributors reflect on aspects of urban infrastructure and culture, citizenship, belonging and exclusion, politics and conflict, with examples from across the Middle East, from Cairo to Tehran, Tel Aviv to Istanbul. Not only will Being Urban further understanding of the topography of citizenship in the Middle East and beyond, it will also contribute to answering one of today's key questions: What Is A Good City?

Time is integral to human culture. Over the last two centuries people's relationship with time has been transformed through industrialisation, trade and technology. But the first such life-changing transformation - under Christianity's influence - happened in late antiquity. It was then that time began to be conceptualised in new ways, with discussion of eternity, life after death and the end of days. Individuals also began to experience time differently: from the seven-day week to the order of daily prayer and the festal calendar of Christmas and Easter. With trademark flair and versatility, world-renowned classicist Simon Goldhill uncovers this change in thinking. He explores how it took shape in the literary writing of late antiquity and how it resonates even today. His bold new cultural history will appeal to scholars and students of classics, cultural history, literary studies, and early Christianity alike.

These new and especially commissioned essays discuss the ways in which performance is central to the practice and ideology of democracy in classical Athens. From theater to law court to gymnasium to symposium, performance is a basic part of Athenian society; how do these different areas interrelate and inform the politics and culture of the democratic city? Drama, rhetoric, philosophy, literature and art are all discussed by leading scholars in this interdisciplinary volume.

This collection of original essays examines innovations in both the theory and practice of classical philology. The chapters address interdisciplinary methods in a variety of ways. Some apply theoretical insights derived from other disciplines, such as folklore studies, performance theory, feminist criticism, and the like, to classical texts. Others examine the relationships between classics and cultural studies, popular literature, film, art history, and other related disciplines. Others, again, look to the evolution of theoretical methods within the discipline of classics. Taken together, the essays offer a spectrum of new approaches in the classics and their place within the profession.

We can begin with a kiss, though this will not turn out to be a love story, at least not a love story of anything like the usual kind. So begins A Very Queer Family Indeed, which introduces us to the extraordinary Benson family. Edward White Benson became Archbishop of Canterbury at the height of Queen Victoria's reign, while his wife, Mary, was renowned for her wit and charm the prime minister once wondered whether she was "the cleverest woman in England or in Europe." The couple's six precocious children included E. F. Benson, celebrated creator of the Mapp and Lucia novels, and Margaret Benson, the first published female Egyptologist. What interests Simon Goldhill most, however, is what went on behind the scenes, which was even more unusual than anyone could imagine. Inveterate writers, the Benson family spun out novels, essays, and thousands of letters that open stunning new perspectives including what it might mean for an adult to kiss and propose marriage to a twelve-year-old girl, how religion in a family could support or destroy relationships, or how the death of a child could be celebrated. No other family has left such detailed records about their most intimate moments, and in these remarkable accounts, we see how family life and a family's understanding of itself took shape during a time when psychoanalysis, scientific and historical challenges to religion, and new ways of thinking about society were developing. This is the story of the Bensons, but it is also more than that it is the story of how society transitioned from the high Victorian period into modernity.

Who Needs Greek? is an interdisciplinary study of arguments on what ancient Greece has meant to western culture from the ancient world to today. The battles between artists and literary critics, historians and journalists, politicians and scholars, are often violent, hilarious, and always passionate. This cutting-edge cultural history ranges from ancient Greece via the Renaissance to modern opera, and treats a central question of culture in a way which will intrigue academics as well as a more general audience.

How does literary form change as Christianity and rabbinic Judaism take shape? What is the impact of literary tradition and the new pressures of religious thinking? Tracing a journey over the first millennium that includes works in Latin, Greek, Hebrew and Aramaic, this book changes our understanding of late antiquity and how its literary productions make a significant contribution to the cultural changes that have shaped western Europe.

Modern disciplinary silos tend to separate the fields of classical philology and theology. This collection of essays, however, explores for the first time the deep and significant interactions between them. It demonstrates how from antiquity to the present they have marched hand in hand, informing each other with method, views of the past and structures of argument. The volume rewrites the history of discipline formation, and reveals how close the seminar is to the seminary.

These especially commissioned essays open up a fascinating and novel perspective on a crucial era of Western culture. In the second century CE the Roman empire dominated the Mediterranean, but Greek culture maintained its huge prestige. At the same time, Christianity and Judaism were vying for followers against the lures of such an elite cultural life. This book looks at how writers in Greek from all areas of Empire society responded to their political position, to intellectual authority, to religious and social pressures.

'Dialogue' was invented as a written form in democratic Athens and made a celebrated and popular literary and philosophical style by Plato. Yet it almost completely disappeared in the Christian empire of late antiquity. This book, a general and systematic study of the genre in antiquity, asks: who wrote dialogues and why? Why did dialogue no longer attract writers in the later period in the same way? Investigating dialogue goes to the heart of the central issues of power, authority, openness and playfulness in changing cultural contexts. This book analyses the relationship between literary form and cultural authority in a new and exciting way, and encourages closer reflection about the purpose of dialogue in its wider social, cultural and religious contexts in today's world.

From the time of the Roman Empire onwards, fifth- and fourth-century Greece have been held to be the period and place in which civilization as the West knows it developed. Classical scholars have sought to justify these claims in detail by describing developments in fields such as democratic politics, art, rationality, historiography, literature, philosophy, medicine and music, in which classical Greece has been held to have made a revolutionary contribution. In this volume a distinguished cast of contributors offers a fresh consideration of these claims, asking both whether they are well based and what is at stake for their proposers and for us in making them. They look both at modern scholarly argument and its basis and at the claims made by the scholars of the Second Sophistic. The volume will be of interest not only to classical scholars but to all who are interested in the history of scholarship.

This 2009 book contains thirteen essays by senior international experts on Greek tragedy looking at Sophocles' dramas. They reassess their crucial role in the creation of the tragic repertoire, in the idea of the tragic canon in antiquity, and in the making and infinite re-creation of the tragic tradition in the Renaissance and beyond. The introduction looks at the paradigm shifts during the twentieth century in the theory and practice of Greek theatre, in order to gain a perspective on the current state of play in Sophoclean studies. The following three sections explore respectively the way that Sophocles' tragedies provoked and educated their original Athenian democratic audience, the language, structure and lasting impact of his Oedipus plays, and the centrality of his oeuvre in the development of the tragic tradition in Aeschylus, Euripides, ancient philosophical theory, fourth-century tragedy and Shakespeare.

This is the first general study of the earliest writers of Greek prose for students and teachers alike. Looking at history, medicine, science, philosophy and rhetoric, it asks why and how these new genres of writing came about in the fifth and fourth centuries BCE. It is thus a study of the cultural and political revolution known as the Greek enlightenment, which has proved so influential and important for modern Western thought and society. Questions discussed include how and why rhetoric played such a role in democracy, how history written in prose changes a view of the past, and how science and philosophy construct new models of understanding what authority is. An exploration is offered of how literary history and social and political history interact. Written in a lively and clear style, the book makes a perfect introduction to the classical world of Athens.

This 2009 book contains thirteen essays by senior international experts on Greek tragedy looking at Sophocles' dramas. They reassess their crucial role in the creation of the tragic repertoire, in the idea of the tragic canon in antiquity, and in the making and infinite re-creation of the tragic tradition in the Renaissance and beyond. The introduction looks at the paradigm shifts during the twentieth century in the theory and practice of Greek theatre, in order to gain a perspective on the current state of play in Sophoclean studies. The following three sections explore respectively the way that Sophocles' tragedies provoked and educated their original Athenian democratic audience, the language, structure and lasting impact of his Oedipus plays, and the centrality of his oeuvre in the development of the tragic tradition in Aeschylus, Euripides, ancient philosophical theory, fourth-century tragedy and Shakespeare.

From the time of the Roman Empire onwards, fifth- and fourth-century Greece have been held to be the period and place in which civilization as the West knows it developed. Classical scholars have sought to justify these claims in detail by describing developments in fields such as democratic politics, art, rationality, historiography, literature, philosophy, medicine and music, in which classical Greece has been held to have made a revolutionary contribution. In this volume a distinguished cast of contributors offers a fresh consideration of these claims, asking both whether they are well based and what is at stake for their proposers and for us in making them. They look both at modern scholarly argument and its basis and at the claims made by the scholars of the Second Sophistic. The volume will be of interest not only to classical scholars but to all who are interested in the history of scholarship.

From the stages of Broadway and London to university campuses, Paris, and the bourgeoning theaters of Africa, Greek tragedy remains constantly in production. This global revival, in addition to delighting audiences, has highlighted both the promise and the pitfalls of staging ancient masterpieces in the modern age. Addressing the issues and challenges these performances pose, renowned classicist Simon Goldhill responds here to the growing demand for a comprehensive guide to staging Greek tragedy today.
In crisp and spirited prose, Goldhill explains how Aeschylus, Euripides, and Sophocles conceived their works in performance and then summarizes everything we know about how their tragedies were actually staged. The heart of his book tackles the six major problems facing any company performing these works today: the staging space and concept of the play; the use of the chorus; the actor's role in an unfamiliar style of performance; the place of politics in tragedy; the question of translation; and the treatment of gods, monsters, and other strange characters of the ancient world. Outlining exactly what makes each of these issues such a pressing difficulty for modern companies, Goldhill provides insightful solutions drawn from his nimble analyses of some of the best recent productions in the United States, Britain, and Continental Europe.
One of the few experts on both Greek tragedy and contemporary performance, Goldhill uses his unique background and prodigious literary skill to illuminate brilliantly what makes tragedy at once so exciting and so tricky to get right. The result will inspire and enlighten all directors and performers--not to mention the growing audiences--of ancientGreek theater.

These especially commissioned essays open up a fascinating perspective on a crucial era of western culture. In the second century CE the Roman empire dominated the Mediterranean, but Greek culture maintained its huge prestige. At the same time, Christianity and Judaism were vying for followers against the lures of such an elite cultural life. This book looks at how writers in Greek from all areas of Empire society respond to their political position, to intellectual authority, to religions and social pressures. It explores the interesting cultural clashes from which Christianity emerged to dominate the Empire. It presents a series of brilliant insights into how the culture of Empire functions and offers a fascinating and alternative understanding of the long history of imperialism and cultural conflict.