Ancient Greek artists pioneered in the allegorical use of personifications of political ideas, events, places, institutions, and peoples in visual arts. This book surveys and interprets these personifications within the intellectual and political climate of the golden age of Athens.

This book explores the imaginative processes at work in the artefacts of Classical Athens. When ancient Athenians strove to grasp ‘justice’ or ‘war’ or ‘death’, when they dreamt or deliberated, how did they do it? Did they think about what they were doing? Did they imagine an imagining mind? European histories of the imagination have often begun with thinkers like Plato and Aristotle. By contrast, this volume is premised upon the idea that imaginative activity, and especially efforts to articulate it, can take place in the absence of technical terminology. In exploring an ancient culture of imagination mediated by art and literature, the book scopes out the roots of later, more explicit, theoretical enquiry. Chapters hone in on a range of visual and verbal artefacts from the Classical period. Approaching the topic from different angles – philosophical, historical, philological, literary, and art historical – they also investigate how these artefacts stimulate affective, sensory, meditative – in short, ‘imaginative’ – encounters between imagining bodies and their world. The Imagination of the Mind in Classical Athens offers a ground-breaking reassessment of ‘imagination’ in ancient Greek culture and thought: it will be essential reading for those interested in not only philosophies of mind, but also ancient Greek image, text, and culture more broadly.

Greek Art and Aesthetics in the Fourth Century B.C. analyzes the broad character of art produced during this period, providing in-depth analysis of and commentary on many of its most notable examples of sculpture and painting. Taking into consideration developments in style and subject matter, and elucidating political, religious, and intellectual context, William A. P. Childs argues that Greek art in this era was a natural outgrowth of the high classical period and focused on developing the rudiments of individual expression that became the hallmark of the classical in the fifth century. As Childs shows, in many respects the art of this period corresponds with the philosophical inquiry by Plato and his contemporaries into the nature of art and speaks to the contemporaneous sense of insecurity and renewed religious devotion. Delving into formal and iconographic developments in sculpture and painting, Childs examines how the sensitive, expressive quality of these works seamlessly links the classical and Hellenistic periods, with no appreciable rupture in the continuous exploration of the human condition. Another overarching theme concerns the nature of “style as a concept of expression,” an issue that becomes more important given the increasingly multiple styles and functions of fourth-century Greek art. Childs also shows how the color and form of works suggested the unseen and revealed the profound character of individuals and the physical world.

This study is devoted to the channels through which geographic knowledge circulated in classical societies outside of textual transmission. It explores understanding of geography among the non-elites, as opposed to scholarly and scientific geography solely in written form which was the province of a very small number of learned people. It deals with non-literary knowledge of geography, geography not derived from texts, as it was available to people, educated or not, who did not read geographic works. This main issue is composed of two central questions: how, if at all, was geographic data available outside of textual transmission and in contexts in which there was no need to write or read? And what could the public know of geography? In general, three groups of sources are relevant to this quest: oral communications preserved in writing; public non-textual performances; and visual artefacts and monuments. All of these are examined as potential sources for the aural and visual geographic knowledge of Greco-Roman publics. This volume will be of interest to anyone working on geography in the ancient world and to those studying non-elite culture.

This book argues that Old Comedy's parodic and non-parodic engagement with tragedy, satyr play, and contemporary lyric is geared to enhancing its own status as the preeminent discourse on Athenian art, politics and society. Donald Sells locates the enduring significance of parody in the specific cultural, social and political subtexts that often frame Old Comedy's bold experiments with other genres and drive its rapid evolution in the late fifth century. Close analysis of verbal, visual and narrative strategies reveals the importance of parody and literary appropriation to the particular cultural and political agendas of specific plays. This study's broader, more flexible definition of parody as a visual – not just verbal – and multi-coded performance represents an important new step in understanding a phenomenon whose richness and diversity exceeds the primarily textual and literary terms by which it is traditionally understood.

This book is an addition to the burgeoning secondary literature on ancient emotions. Its primary aim is to suggest possible ways in which recent approaches to emotions can help us understand significant aspects of persuasion in classical antiquity and, especially audiences' psychological manipulation in the civic procedures of classical Athens. Based on cognitive approaches to emotions, Skinner's theoretical work on the language of ideology, or ancient theories about enargeia, the book examines pivotal aspects of psychological manipulation in ancient rhetorical theory and practice. At the same time, the book looks into possible ways in which the emotive potentialities of vision -both sights and mental images- are explained or deployed by orators. The book includes substantial discussion of Gorgias' approach to sights ' emotional qualities and their implications for persuasion and deception and the importance of visuality for Thucydides' analysis of emotions' role in the polis' public communication. It also looks into the deployment of enargeia in forensic narratives revolving around violence. The book also focuses on the ideological implications of envy for the political discourse of classical Athens and emphasizes the rhetorical strategies employed by self-praising speakers who want to preempt their listeners' loathing. The book is therefore a useful addition to the burgeoning secondary literature on ancient emotions. Despite the prominence of emotions in classicists' scholarly work, their implications for persuasion is undeservedly under-researched. By employing appraisal-oriented analysis of emotions this books suggests new methodological approaches to ancient pathopoiia. These approaches take into consideration the wider ideological or cultural contexts which determine individual speakers' rhetorical strategies. This book is the second volume of Ancient Emotions, edited by George Kazantzidis and Dimos Spatharas within the series Trends in Classics. Supplementary Volumes. This project investigates the history of emotions in classical antiquity, providing a home for interdisciplinary approaches to ancient emotions, and exploring the inter-faces between emotions and significant aspects of ancient literature and culture

The Routledge Encyclopedia of Ancient Mediterranean Religions is the first comprehensive single-volume reference work offering authoritative coverage of ancient religions in the Mediterranean world. Chronologically, the volume’s scope extends from pre-historical antiquity in the third millennium B.C.E. through the rise of Islam in the seventh century C.E. An interdisciplinary approach draws out the common issues and elements between and among religious traditions in the Mediterranean basin. Key features of the volume include: Detailed maps of the Mediterranean World, ancient Egypt, the Roman Empire, and the Hellenistic World A comprehensive timeline of major events, innovations, and individuals, divided by region to provide both a diachronic and pan-Mediterranean, synchronic view A broad geographical range including western Asia, northern Africa, and southern Europe This encyclopedia will serve as a key point of reference for all students and scholars interested in ancient Mediterranean culture and society.

Explores how rhetorical techniques helped to produce innovations in art of the Hellenistic courts at Pergamon and Alexandria.

Interprets the poetic meaning of the Iliad in relation to the heroic literature of the Ancient Near East.

Ancient religions are definitely complex systems of gods, which resist our understanding. Divine names provide fundamental keys to gain access to the multiples ways gods were conceived, characterized, and organized. Among the names given to the gods many of them refer to spaces: cities, landscapes, sanctuaries, houses, cosmic elements. They reflect mental maps which need to be explored in order to gain new knowledge on both the structure of the pantheons and the human agency in the cultic dimension. By considering the intersection between naming and mapping, this book opens up new perspectives on how tradition and innovation, appropriation and creation play a role in the making of polytheistic and monotheistic religions. Far from being confined to sanctuaries, in fact, gods dwell in human environments in multiple ways. They move into imaginary spaces and explore the cosmos. By proposing a new and interdiciplinary angle of approach, which involves texts, images, spatial and archeaeological data, this book sheds light on ritual practices and representations of gods in the whole Mediterranean, from Italy to Mesopotamia, from Greece to North Africa and Egypt. Names and spaces enable to better define, differentiate, and connect gods.