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Presents numismatics from the ancient harbor town of Dor/Dora in modern Israel with a history that spanned from the Bronze Age until the Late Roman Era.

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Early Greek Ethics is the first volume devoted to philosophical ethics in its "formative" period. It explores contributions from the Presocratics, figures of the early Pythagorean tradition, sophists, and anonymous texts, as well as topics influential to ethical philosophical thought such as Greek medicine, music, friendship, and justice.

A Companion to Ethnicity in the Ancient Mediterranean presents a comprehensive collection of essays contributed by Classical Studies scholars that explore questions relating to ethnicity in the ancient Mediterranean world. Covers topics of ethnicity in civilizations ranging from ancient Egypt and Israel, to Greece and Rome, and into Late Antiquity Features cutting-edge research on ethnicity relating to Philistine, Etruscan, and Phoenician identities Reveals the explicit relationships between ancient and modern ethnicities Introduces an interpretation of ethnicity as an active component of social identity Represents a fundamental questioning of formally accepted and fixed categories in the field

Introduction to this wide-ranging body of poetry, which includes work by such famous poets as Sappho and Pindar.

The proem to Herodotus's history of the Greek-Persian wars relates the long-standing conflict between Europe and Asia from the points of view of the Greeks' chief antagonists, the Persians and Phoenicians. However humorous or fantastical these accounts may be, their stories, as voiced by a Greek, reveal a great deal about the perceived differences between Greeks and others. The conflict is framed in political, not absolute, terms correlative to historical events, not in terms of innate qualities of the participants. It is this perspective that informs the argument of The Art of Contact: Comparative Approaches to Greek and Phoenician Art. Becky Martin reconsiders works of art produced by, or thought to be produced by, Greeks and Phoenicians during the first millennium B.C., when they were in prolonged contact with one another. Although primordial narratives that emphasize an essential quality of Greek and Phoenician identities have been critiqued for decades, Martin contends that the study of ancient history has not yet effectively challenged the idea of the inevitability of the political and cultural triumph of Greece. She aims to show how the methods used to study ancient history shape perceptions of it and argues that art is especially positioned to revise conventional accountings of the history of Greek-Phoenician interaction. Examining Athenian and Tyrian coins, kouros statues and mosaics, as well as the familiar Alexander Sarcophagus and the sculpture known as the "Slipper Slapper," Martin questions what constituted "Greek" and "Phoenician" art and, by extension, Greek and Phoenician identity. Explicating the relationship between theory, method, and interpretation, The Art of Contact destabilizes categories such as orientalism and Hellenism and offers fresh perspectives on Greek and Phoenician art history.

Greek pottery was exported around the ancient world in vast quantities over a period of several centuries. This book focuses on the Greek pottery consumed by people in the western Mediterranean and trans-Alpine Europe from 800-300 BCE, attempting to understand the distribution of vases, and particularly the reasons why people who were not Greek decided to acquire them. This new approach includes discussion of the ways in which objects take on different meanings in new contexts, the linkages between the consumption of goods and identity construction, and the utility of objects for signaling positive information about their owners to their community. The study includes a database of almost 24,000 artifacts from more than 230 sites in Portugal, Spain, France, Switzerland, and Germany. This data was mapped and analyzed using geostatistical techniques to reveal different patterns of consumption in different places and at different times. The development of the new approaches explored in this book has resulted in a shift away from reliance on the preserved fragments of ancient Greek authors’ descriptions of western Europe, remains of monumental buildings, and major artworks, and toward investigation of social life and more prosaic forms of material culture. ADDITIONAL E-RESOURCES FOR THIS BOOK ARE AVAILABLE: https://digitalcommons.chapman.edu/art_data/1/

Why did ancient autocrats patronise theatre? How could ancient theatre – rightly supposed to be an artform that developed and flourished under democracy – serve their needs? Plato claimed that poets of tragic drama "drag states into tyranny and democracy". The word order is very deliberate: he goes on to say that tragic poets are honoured "especially by the tyrants, and secondly by the democracies" (Republic 568c). For more than forty years scholars have explored the political, ideological, structural and economic links between democracy and theatre in ancient Greece. By contrast, the links between autocracy and theatre are virtually ignored, despite the fact that for the first 200 years of theatre's existence more than a third of all theatre-states were autocratic. For the next 600 years, theatre flourished almost exclusively under autocratic regimes. The volume brings together experts in ancient theatre to undertake the first systematic study of the patterns of use made of the theatre by tyrants, regents, kings and emperors. Theatre and Autocracy in the Ancient World is the first comprehensive study of the historical circumstances and means by which autocrats turned a medium of mass communication into an instrument of mass control.