The poet we call Martial, Marcus Valerius Martialis, lived by his wits in first-century Rome. Pounding the mean streets of the Empire’s capital, he takes apart the pretensions, addictions, and cruelties of its inhabitants with perfect comic timing and killer punchlines.
In antiquity, ‘Arabia’ covered a vast area, running from Yemen and Oman to the deserts of Syria and Iraq. Today, much of this region is gripped in political and religious turmoil that shows no signs of abating.
The shadow of the Roman poets falls right across the entire western literary tradition: from Vergil’s Aeneid, about the fall of Troy, the wooden horse, and the founding of Rome; through the great love poets, Catullus, Propertius, and Tibullus; Ovid’s Metamorphoses, treasure-house of myth for the Renaissance and Shakespeare; to Horace’s Dulce et decorum est, echoing through the twentieth century. We all take it for granted … so now’s the time to check your working.
How do large-scale societies achieve cooperation? Since Thomas Hobbes’ famous work, Leviathan (1651), social scientific treatments of the problem of cooperation have assumed that living together without killing one another requires an act of depersonalization in the form of a transfer of individual powers to an all-powerful central government.
We live in a globalized world, but mobility is nothing new. Set on a huge continental stage, By Steppe, Desert and Ocean tells the story how human society evolved across the Eurasian continent from Europe to China.
Judaism, Christianity, and Islam are considered kindred religions–holding ancestral heritages and monotheistic belief in common–but there are definitive distinctions between these “Abrahamic” peoples. The early exchanges of Jews, Christians, and Muslims were dominated by debates over the meanings of certain stories sacred to all three groups.
Only Oscar Wilde could be quite so frivolous when describing a matter as grave as the punctuation of poetry, something that causes particular grief in our attempts to understand ancient texts. Their writers were not so obliging as to provide their poems with punctuation marks, nor to distinguish between capitals and small letters.
The famous marauders, explorers, traders, and colonists who transformed northern Europe between AD 750 and 1100 continue to hold our fascination. The Vikings are the subject of major new museum exhibitions now circulating in Europe and a popular dramatic television series airing on The History Channel.
For four centuries Britain was an integral part of the Roman Empire, a political system stretching from Turkey to Portugal and from the Red Sea to the Tyne and beyond. Britain’s involvement with Rome started long before its Conquest, and it continued to be a part of the Roman world for some time after the final break with Roman rule. But how much do you know about this important period of British history?
The city that we now call Naples began life in the seventh century BC, when Euboean colonists from the town of Cumae founded a small settlement on the rocky headland of Pizzofalcone. This settlement was christened ‘Parthenope’ after the mythical siren whose corpse had supposedly been discovered there, but it soon became known as Palaepolis (‘Old City’), after a Neapolis (‘New City’) was founded close by.
The British Museum’s current blockbuster show, Defining Beauty: the Body in Ancient Greek Art, amasses a remarkable collection of classical sculpture focusing on the human body. The most intriguing part of the show for me was the second room, “Body colour,” which displays plaster casts of several Greek sculptures brightly painted in green, blue, yellow, red and pink. The press has not known what to make of “Body colour.” It has been met with surprise, sneers, or been entirely ignored in otherwise glowing reviews.
Surprisingly few people have heard of Amelia Edwards. Archaeologists know her as the founder of the Egyptian Exploration Fund, set up in 1882, and the Department of Egyptology at University College London, created in 1892 through a bequest on her death. The first Edwards Professor, Flinders Petrie, was appointed on Amelia’s recommendation and her name is still attached to the Chair of Egyptian Archaeology.
Ashurnasirpal’s palace at Nimrud (Assyrian Kalḫu) was constructed around 865 BCE during a period in which Assyria was slowly becoming the empire that would come to rule most of the Middle East two centuries later. Ashurnasirpal’s palace is among the few Assyrian palaces to have been excavated (more or less) in its entirety. Measuring at least 2 hectares, it must have been one of the largest and most monumental buildings of its time.
With Greek tragedies filling major venues in London in recent months, I have been daydreaming about awarding my personal ancient Greek Oscars, to be called “Golden Nikes” (pedantic footnote: Nike was the Goddess of Victory, not of Trainers). There has been Medea at the National Theatre, Electra (Sophocles’ one) at the Old Vic, and Antigone, just opened at the Barbican. There are yet more productions lined up for The Globe, Donmar and RSC.
There’s a lot we can learn from ancient Athens. The Greek city-state, best recognized as the first democracy in the world, is thought to have laid the foundation for modern political and philosophical theory, providing a model of government that has endured albeit in revised form. Needless to say, the uniqueness of its political institutions shaped many of its economic principles and practices, many of which are still recognizable in current systems of government.
Recently, a number of prominent publications have featured a growing body of work on classical receptions in science fiction and fantasy, including Mélanie Bost-Fiévet’s and Sandra Provini’s collection L’Antiquité dans l’imaginaire contemporain (Garniers Classiques 2014), a special issue of the journal Foundation on “Fantastika and the Greek and Roman Worlds” (Autumn 2014), and our own collection, Classical Traditions in Science Fiction (OUP 2015). This focus on science fiction, now an important part of popular culture, reveals much about how ancient classics are being received by modern audiences, particularly when it comes to the silver screen.