An exploration of the darker corners of ancient Rome to spotlight the strange sorcery of anonymous literature.

From Banksy to Elena Ferrante to the unattributed parchments of ancient Rome, art without clear authorship fascinates and even offends us. Classical scholarship tends to treat this anonymity as a problem or game—a defect to be repaired or mystery to be solved. Author Unknown is the first book to consider anonymity as a site of literary interest rather than a gap that needs filling. We can tether each work to an identity, or we can stand back and ask how the absence of a name affects the meaning and experience of literature.

Tom Geue turns to antiquity to show what the suppression or loss of a name can do for literature. Anonymity supported the illusion of Augustus’s sprawling puppet mastery (Res Gestae), controlled and destroyed the victims of a curse (Ovid’s Ibis), and created out of whole cloth a poetic persona and career (Phaedrus’s Fables). To assume these texts are missing something is to dismiss a source of their power and presume that ancient authors were as hungry for fame as today’s.

In this original look at Latin literature, Geue asks us to work with anonymity rather than against it and to appreciate the continuing power of anonymity in our own time.

John D'Arms explores here a question of central importance for the social economic history of the Roman world: which sectors of society were actively engaged in trade?

In the late Roman Republic and early Empire senators were prohibited by law from direct participation in seaborne commerce; trade was not considered a respectable pursuit. Yet large fortunes were amassed by men of rank through a variety of lucrative enterprises. Exploiting the evidence of literature, archaeology, and inscription, D'Arms constructs case histories which reveal how senators realized commercial profits by indirect involvement: freedmen, municipal notables, and "friends" often served as the equivalent of partners or agents of aristocrats with large holdings in land. In demonstrating a flexibility in upper-class attitudes toward commercial activity, he offers a study in the adaptation of a social system to economic realities.

This searching interpretation of past and present addresses fundamental questions about the fall of the Roman Empire. Why did ancient culture, once so strong and rich, come to an end? Was it destroyed by weaknesses inherent in its nature? Or were mistakes made that could have been avoided—was there a point at which Greco-Roman society took a wrong turn? And in what ways is modern society different?Western history is split into two discontinuous eras, Aldo Schiavone tells us: the ancient world was fundamentally different from the modern one. He locates the essential difference in a series of economic factors: a slave-based economy, relative lack of mechanization and technology, the dominance of agriculture over urban industry. Also crucial are aspects of the ancient mentality: disdain for manual work, a preference for transcending (rather than transforming) nature, a basic belief in the permanence of limits.Schiavone’s lively and provocative examination of the ancient world, “the eternal theater of history and power,” offers a stimulating opportunity to view modern society in light of the experience of antiquity.

From Ancient Rome to Colonial Mexico compares the Christianization of the Roman Empire with the evangelization of Mesoamerica, offering novel perspectives on the historical processes involved in the spread of Christianity. Combining concepts of empire and globalization with the notion of religion from a postcolonial perspective, the book proposes the method of analytical comparison as a point of departure to conceptualize historical affinities and differences between the ancient Roman Empire and colonial Mesoamerica.

An international team of specialists in classical scholarship and Mesoamerican studies engage in an interdisciplinary discussion involving ideas from history, anthropology, archaeology, art history, iconography, and philology. Key themes include the role of religion in processes of imperial domination; religion’s use as an instrument of resistance or the imposition, appropriation, incorporation, and adaptation of various elements of religious systems by hegemonic groups and subaltern peoples; the creative misunderstandings that can arise on the “middle ground”; and Christianity’s rejection of ritual violence and its use of this rejection as a pretext for inflicting other kinds of violence against peoples classified as “barbarian,” “pagan,” or “diabolical.”

From Ancient Rome to Colonial Mexico presents a sympathetic vantage point for discussing and attempting to decipher past processes of social communication in multicultural contexts of present-day realities. It will be significant for scholars and specialists in the history of religions, ethnohistory, classical antiquity, and Mesoamerican studies.

Publication supported, in part, by Spain’s Ministry of Economy and Competitiveness.

Contributors: Sergio Botta,Maria Celia Fontana Calvo, Martin Devecka, György Németh, Guilhem Olivier, Francisco Marco Simón, Paolo Taviani, Greg Woolf, David Charles Wright-Carr, Lorenzo Pérez Yarza
Translators: Emma Chesterman, Benjamin Adam Jerue, Layla Wright-Contreras

Virgil, Horace, Catullus, Propertius—these are just a few of the poets whose work we would be without today were it not for the wealthy and powerful patrons upon whose support the Roman cultural establishment so greatly depended. Who were these patrons? What benefits did they give, to whom, and why? What effect did the support of such men as Maecenas and Pompey have on the lives and work of those who looked to them for aid?

These questions and others are addressed in this volume, which explores all the important aspects of patronage—a topic crucial to the study of literature and art from Homer to the present day. The subject is approached from various vantage points: literary, artistic, historical. The essayists reach conclusions that dispel the many misconceptions about Roman patronage derived from seventeenth- and eighteenth-century models in England and Europe.

An understanding of the workings of patronage is indispensable in helping us see how the Roman cultural establishment functioned in the four centuries of its flourishing and also in helping us read and enjoy specific poems and works of art. A book for all concerned with classical literature, art, and social history, Literary and Artistic Patronage in Ancient Rome not only deepens our understanding of the ancient world but also suggests important avenues for future exploration.

This revealing look at life in ancient Rome offers a compelling journey through the vivid landscape of politics, domestic life, entertainment, and inequality experienced daily by Romans of all social strata.

Frenzied crowds, talking ravens, the stench of the Tiber River: life in ancient Rome was stimulating, dynamic, and often downright dangerous. The Romans relaxed and gossiped in baths, stole precious water from aqueducts, and partied and dined to excess. Everyone from senators to the enslaved crowded into theaters and circuses to watch their favorite singers, pantomime, and comedies and scream their approval at charioteers. The lucky celebrated their accomplishments with elaborate tombs. Amid pervasive inequality and brutality, beauty also flourished through architecture, poetry, and art.
 
From the smells of fragrant cookshops and religious sacrifices to the cries of public executions and murderous electoral mobs, Guy de la Bédoyère’s Populus draws on a host of historical and literary sources to transport us into the intensity of daily life at the height of ancient Rome.