Results by title

Laughing Atoms, Laughing Matter: Lucretius' De Rerum Natura and Satire offers the first comprehensive examination of Roman epic poet Lucretius’ engagement with satire. Author T. H. M. Gellar-Goad argues that what has often been understood as an artfully persuasive exposition of Epicurean philosophy designed to convert the uninitiated is actually a mimesis of the narrator’s attempt to effect such a conversion on his internal narrative audience—a performance for the true audience of the poem, whose members take pleasure from uncovering the literary games and the intertextual engagement that the performance entails.
 
Gellar-Goad aims to track De Rerum Natura along two paths of satire: first, the broad boulevard of satiric literature from the beginnings of Greek poetry to the plays, essays, and broadcast media of the modern world; and second, the narrower lane of Roman verse satire, satura, beginning with early authors Ennius and Lucilius and closing with Flavian poet Juvenal. Lucilius is revealed as a major, yet overlooked, influence on Lucretius.
 
By examining how Lucretius’ poem employs the tools of satire, we gain a richer understanding of how it interacts with its purported philosophical program.

"[T]his handsomely-produced volume performs admirably as a series of introductions to sources, approaches, and the state of scholarship on major topics in Roman social history . . . Collections of essays come and go, but this one will stay in wide use. Each essay can stand alone but, tied together by the theme of dominance, the whole is greater than the sum of its parts."
---Donald Kyle, Bryn Mawr Classical Review

"This collection of essays is intended to serve as a coursebook for introductory lecture series on Roman civilization; the essays are concentrated on fundamental aspects of Roman society, and no prior knowledge of antiquity on the reader's part is assumed. . . . The book as a whole is entirely successful in its projected aim: an immense range of detailed information about antiquity is presented in readable and largely sophisticated discussion. . . . Increasingly we need to be able to suggest to our students reading that is introductory but also in-depth and challenging, and this book is one possible reading that we can offer."
---Ellen O'Gorman, Classical Review

Life, Death, and Entertainment gives those with a general interest in Roman antiquity a starting point, informed by the latest developments in scholarship, for understanding the extraordinary range of Roman society. Family structure, slavery, gender identity, food supply, religion, and entertainment---all crucial parts of the Roman world---are discussed here, in a single volume that offers an approachable guide for readers of all backgrounds. The collection unites a series of general introductions on each of these topics, bringing readers in touch with a broad range of evidence, as well as with a wide variety of approaches to basic questions about the Roman world.

The newly expanded edition includes historian Keith Hopkins' pathbreaking article on Roman slaves. Volume editor David Potter has contributed two new translations of documents from emperors Hadrian and Marcus Aurelius. Hadrian's letters document a reorganization of the festival cycle in the Empire and reassert the importance of the Olympic Games; the letter to Marcus provides the most important surviving evidence for how gladiatorial games were actually organized. 

Contributors to the volume include Greg S. Aldrete, Hazel Dodge, Bruce W. Frier, Maud W. Gleason, Ann E. Hanson, Keith Hopkins, David J. Mattingly, and David S. Potter.

D.S. Potter is Professor of Classics and Arthur F. Thurnau Professor, University of Michigan.

D.J. Mattingly is Professor of Roman Archaeology, University of Leicester, and a Fellow of the British Academy.

Cover illustrations: top left, Karanis Excavation, courtesy Kelsey Museum; bottom right, Monte Testacchio, courtesy David J. Mattingly; center, Pollice Verso by Jean-Léon Gérôme, courtesy Phoenix Art Museum, Museum Purchase.

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.

The modern age is not the only one in which Romans and visitors to Rome have been fascinated with the city's striking juxtapositions of past and present. Rome's wealth of history also captured the imagination of the ancients. Livy's Written Rome, by Mary Jaeger, shows how one writer explored the relationship between events in Roman history, the landscape in which they occurred, and the monuments that commemorated them. While Augustus reconstructed the physical city to reflect the ideology of the Empire, the historian Livy created a written Rome and taught his readers to look beyond the city's dramatically altered landscape. In so doing, they gained insight into the lessons of the lost Republic. Drawing upon modern discourse on the connection between private mental spaces and public civic spaces, this first in-depth study of Livy's use of the urban landscape offers discerning views on his interpretation of ancient theories of historiography. Livy's Written Rome discusses the Roman idea of the monument as a place where memory and space intersect and includes fresh readings of several historical episodes, including the battle over the Sabine Women, the sedition of Marcus Manlius, and the trials of the Scipios. Scholars have long criticized Livy as a historian because his work is not in accord with modern historiographical standards. Yet even his critics agree that Livy is a masterful literary artist, and recent work on Livy has argued for the complexity and originality of his thought. Across the humanities, recent scholarship has focused on the role of memory in civic consciousness and identity. This book explores the ways in which Livy's texts question traditional assumptions about the preservation and use of the past. In doing so, it identifies a new and important facet of Livy's representation of urban Rome. Livy's Written Rome will be of interest to classicists and historians, students of ancient historiography and classical rhetoric, as well as general readers interested in memory, monuments, and historical narrative.

No comic author from the ancient world features the gods as often as Lucian of Samosata, yet the meaning of his works remain contested. He is either seen as undermining the gods and criticizing religion through his humor, or as not engaging with religion at all, featuring the gods as literary characters. His humor was traditionally viewed as a symptom of decreased religiosity, but that model of religious decline in the second century CE has been invalidated by ancient historians. Understanding these works now requires understanding what it means to imagine as laughing and laughable gods who are worshipped in everyday cult.
 
In Lucian's Laughing Gods, author Inger N. I. Kuin argues that in ancient Greek thought, comedic depictions of divinities were not necessarily desacralizing. In religion, laughter was accommodated to such an extent as to actually be constituent of some ritual practices, and the gods were imagined either to reciprocate or push back against human laughter—they were never deflated by it. Lucian uses the gods as comic characters, but in doing so, he does not automatically negate their power. Instead, with his depiction of the gods and of how they relate to humans—frivolous, insecure, callous—Lucian challenges the dominant theologies of his day as he refuses to interpret the gods as ethical models. This book contextualizes Lucian’s comedic performances in the intellectual life of the second century CE Roman East broadly, including philosophy, early Christian thought, and popular culture (dance, fables, standard jokes, etc.). His texts are analyzed as providing a window onto non-elite attitudes and experiences, and methodologies from religious studies and the sociology of religion are used to conceptualize Lucian’s engagement with the religiosity of his contemporaries.