The Fourth Century tells of the quest by young Mathieu Bäluse to discover the lost history of his country, Martinique. Aware that the officially recorded version he learned in school omits and distorts, he turns to a quimboiseur named Papa Longouä. This old man of the forest, a healer, seer, and storyteller, knows the oral tradition and its relation to the powers of the land and the forces of nature. He tells of the love-hate relationship between the Longouä and Bäluse families, whose ancestors were brought as slaves to Martinique. Upon arrival, Longouä immediately escaped and went to live in the hills as a maroon. Bäluse remained in slavery. The intense relationship that had formed between the two men in Africa continued and came to encompass the relations between their masters, or, in the case of Longouä, his would-be master, and their descendants. The Fourth Century closes the gap between the families as Papa Longouä, last of his line, conveys the history to Mathieu Bäluse, who becomes his heir.

This book elucidates the birth of the new relationship between the Roman Empire and the Arabs and the rise of its institutional forms. Shahîd discusses the participation of the Arab foederati in Byzantium's wars with her neighbors--the Persians and the Goths--during which those Arab allies contributed to the welfare of the imperium and the ecclesia.

In "East and West in the Roman Empire of the Fourth Century" scholars examine from different angles to which degree the empire was still unified and whether it was perceived as such in the fourth century AD.

This volume, offering an insight into the literary world of Rome in the fourth century AD, reflects an increased interest in the writers of the 150 years before the collapse of the Western Empire, who have long been over-shadowed by the pre-eminence accorded since the eighteenth century to the Golden and Silver ages. Among the writers examined are Ausonius, the poet, Imperial official and tutor to Gratian; Claudian, the last major ‘classical’ poet; Prudentius, and Paulinus of Nola, two of the founders of Christian Latin poetry; Symmachus, the letter writer and supporter of die-hard paganism; and St. Augustine, whose influence on Christian thought and the Middle Ages is incalculable. These essays consider how such writers responded to a world where vitality was ebbing from the old forms of political life, religion and literature, giving way to new institutions, modes of life and horizons of reflection.

Age-old scholarly dogma holds that the death of serious theatre went hand-in-hand with the 'death' of the city-state and that the fourth century BC ushered in an era of theatrical mediocrity offering shallow entertainment to a depoliticised citizenry. The traditional view of fourth-century culture is encouraged and sustained by the absence of dramatic texts in anything more than fragments. Until recently, little attention was paid to an enormous array of non-literary evidence attesting, not only the sustained vibrancy of theatrical culture, but a huge expansion of theatre throughout (and even beyond) the Greek world. Epigraphic, historiographic, iconographic and archaeological evidence indicates that the fourth century BC was an age of exponential growth in theatre. It saw: the construction of permanent stone theatres across and beyond the Mediterranean world; the addition of theatrical events to existing festivals; the creation of entirely new contexts for drama; and vast investment, both public and private, in all areas of what was rapidly becoming a major 'industry'. This is the first book to explore all the evidence for fourth century ancient theatre: its architecture, drama, dissemination, staging, reception, politics, social impact, finance and memorialisation.

Friendship was a quality valued highly in ancient Greece and Rome, and was also regarded as highly significant in nascent Christianity. Carolinne White's aim in this study is to describe and compare the ideas about friendship developed by the Christians, whose culture was in many ways dependent upon its pagan background, and thus to develop a coherent picture of how the concept of friendship was understood in the fourth century. The Christian writers discussed are considered against the background of their personal lives and their relations with one another. All of the writers considered had a profound influence on later ages as well as on their own period, which means that the survey provided should be of wide interest both to ancient historians and theologians.

'a welcome addition to this distinguished series... the author has new insights to offer in every chapter... an impressive achievement, a work of great learning and meticulous documentation yet never dull and always readable.' -Fred S. Kleiner, Bryn Mawr Classical ReviewAn original and lively study of the transformation of the landscape, civic life, and moral values of the pagan city of Rome following the conversion of the emperor Constantine in the early fourth century. It examines the effects of the rise of Christianity and the decline of paganism in the later Roman empire, which laid the foundation for the capital of medieval Christendom.

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.

Contested Monarchy offers a fresh survey of the role of the Roman monarch in a period of significant and enduring change.

During the past decade, the period from the 7th century B.C.E. and later has been a major focus because it is thought to be the era when much of the Hebrew Bible/Old Testament was formed. As a result, there has also been much interest in the historical developments of that time and specifically in the status of Judah and its neighbors. Three conferences dealing roughly with a century each were organized, and the first conference was held in Tel Aviv in 2001; the proceedings of that conference were published as Judah and the Judeans in the Neo-Babylonian Period. The second volume was published in early 2006, a report on the conference held in Heidelberg in July 2003: Judah and the Judeans in the Persian Period. Judah and the Judeans in the Fourth Century B.C.E. is the publication of the proceedings of the third conference, which was held in Muenster, Germany, in August 2005; the essays in it focus on the century during which the Persian Empire fell to Alexander the Great and the Hellenistic kingdoms came to the fore. Participants whose contributions are published here are: R. Achenbach, R. Albertz, B. Becking, E. Ben Zvi, J. Blenkinsopp, E. Eshel, H. Eshel, L. L. Grabbe, A. Kloner, G. N. Knoppers, I. Kottsieper, A. Lemaire, O. Lipschits, Y. Magen, K. Schmid, I. Stern., O. Tal, D. Vanderhooft, J. Wiesehöfer, J. L. Wright, and J. W. Wright.