Karanis, a town in Egypt's Fayum region founded around 250 BC, housed a farming community with a diverse population and a complex material culture that lasted for hundreds of years. Ultimately abandoned and partly covered by the encroaching desert, Karanis eventually proved to be an extraordinarily rich archaeological site, yielding tens of thousands of artifacts and texts on papyrus that provide a wealth of information about daily life in the Roman-period Egyptian town. This volume tells of the history and culture of Karanis, and also provides a useful introduction to the University of Michigan's excavations between 1924 and 1935 and to the artifacts, archival records and photographs of the excavation that now form one of the major components of the collection of the Kelsey Museum of Archaeology.

The province of Egypt provides unique archaeological and documentary evidence for the study of the Roman army. In this fascinating social history Richard Alston examines the economic, cultural, social and legal aspects of a military career, illuminating the life and role of the individual soldier in the army. Soldier and Society in Roman Eygpt provides a complete reassessment of the impact of the Roman army on local societies, and convincingly challenges the orthodox picture. The soldiers are seen not as an isolated elite living in fear of the local populations, but as relatively well-integrated into local communities. The unsuspected scale of the army's involvement in these communities offers a new insight into both Roman rule in Egypt and Roman imperialism more generally.

After Egypt became part of the Roman Empire in 30 BC, Classical and then Christian influences both made their mark on the urban environment. This book examines the impact of these new cultures at every level of Egyptian society.

Artefact evidence has the unique power to illuminate many aspects of life that are rarely explored in written sources, yet this potential has been underexploited in research on Roman and Late Antique Egypt. This book presents the first in-depth study that uses everyday artefacts as its principal source of evidence to transform our understanding of the society and culture of Egypt during these periods. It represents a fundamental reference work for scholars, with much new and essential information on a wide range of artefacts, many of which are found not only in Egypt but also in the wider Roman and late antique world. By taking a social archaeology approach, it sets out a new interpretation of daily life and aspects of social relations in Roman and Late Antique Egypt, contributing substantial insights into everyday practices and their social meanings in the past. Artefacts from University College London's Petrie Museum of Egyptian Archaeology are the principal source of evidence; most of these objects have not been the subject of any previous research. The book integrates the close study of artefact features with other sources of evidence, including papyri and visual material. Part one explores the social functions of dress objects, while part two explores the domestic realm and everyday experience. An important theme is the life course, and how both dress-related artefacts and ordinary functional objects construct age and gender-related status and facilitate appropriate social relations and activities. There is also a particular focus on wider social experience in the domestic context, as well as broader consideration of economic and social changes across the period.

In recent years memory has become a central concept in historical studies, following the definition of the term 'Cultural Memory' by the Egyptologist Jan Assmann in 1994. Thinking about memory, as both an individual and a social phenomenon, has led to a new way of conceptualizing history and has drawn historians into debate with scholars in other disciplines such as literary studies, cultural theory and philosophy. The aim of this volume is to explore memory and identity in ancient societies. 'We are what we remember' is the striking thesis of the Nobel laureate Eric R Kandel, and this holds equally true for ancient societies as modern ones. How did the societies of Mesopotamia, Egypt, Greece and Rome remember and commemorate the past? How were relationships to the past, both individual and collective, articulated? Exploring the balance between memory as survival and memory as reconstruction, and between memory and historically recorded fact, this volume unearths the way ancient societies formed their cultural identity.

Egypt After the Pharoahs treats the period which witnessed the arrival of the Greeks and Hellenistic culture in Egypt, the reign of the Ptolemies from Ptolemy I to Cleopatra, the conquest by Rome, the scientific and cultural achievements of Alexandria, and the rise of Christianity. The rich social, cultural, and intellectual ferment of this period comes alive in Alan Bowman's narrative. Egypt After the Pharoahs treats the period which witnessed the arrival of the Greeks and Hellenistic culture in Egypt, the reign of the Ptolemies from Ptolemy I to Cleopatra, the conquest by Rome, the scientific and cultural achievements of Alexandria, and the rise of Christianity. The rich social, cultural, and intellectual ferment of this period comes alive in Alan Bowman's narrative.

"This is a stimulating book and should be compulsory reading for all students of Roman art." ---Classical Review "For all the authors, attention to the ensemble, a sense of the relation between the formal and the iconographic, and the desire to historicize their material contribute to making this anthology unusual in its rigorous and creative attention to the way that art and architecture participate in the construction of the image of the Roman elite." ---Art Bulletin Roman Art in the Private Sphere presents an impressive case for the social and art historical importance of the paintings, mosaics, and sculptures that filled the private houses of the Roman elite. The six essays in this volume range from the first century B.C.E. to the fourth century C.E., and from the Italian peninsula to the Eastern Empire and North African provinces. The essays treat works of art that belonged to every major Roman housing type: the single-family atrium houses and the insula apartment blocks in Italian cities, the dramatically sited villas of the Campanian coast and countryside, and the palatial mansions of late antique provincial aristocrats. In a complementary fashion the essays consider domestic art in relation to questions of decorum, status, wealth, social privilege, and obligation. Patrons emerge as actively interested in the character of their surroundings; artists appear as responsive to the desire of their patrons. The evidence in private art of homosexual conduct in high society is also set forth. Originality of subject matter, sophisticated appreciation of stylistic and compositional nuance, and philosophical perceptions of the relationship of humanity and nature are among the themes that the essays explore. Together they demonstrate that Roman domestic art must be viewed on its own terms. Elaine K. Gazda is Professor of the History of Art and Curator of Hellenistic and Roman Antiquities at the Kelsey Museum of Archaeology, University of Michigan.

In Terracotta and domestic worship. Bestiary of the Graeco-Roman Egypt, Celine Boutantin proposes a new approach of terracotta produced in Egypt in the Greco-Roman period. A study taking into account the archaeological contexts allows to propose a synthesis of production workshops and to show, in some cases, an adaptation of the production of local cults. An inventory of figurines found in homes, temples and tombs allow to study the functions of these objects. Through the study of a particular theme, animal terracottas, the author raises questions about beliefs and personal or private practices. Dans Terres cuites et culte domestique. Bestiaire de l’Égypte gréco-romaine, Céline Boutantin propose une nouvelle approche des figurines en terre cuite produites en Égypte à l’époque gréco-romaine. Une étude prenant en compte les contextes archéologiques permet de dresser un bilan des ateliers de production et de montrer, dans certains cas, une adaptation de la production à des cultes locaux. Elle permet aussi de dresser un inventaire des figurines trouvées dans les maisons, les sanctuaires et les tombes et de proposer une synthèse sur les fonctions de ces objets. A travers l’étude d’un thème particulier, les représentations animales, l’auteur aborde sous un angle nouveau la question des croyances et des pratiques personnelles ou privées.