Epigraphic Culture In The Eastern Mediterranean In Antiquity

This book investigates the epigraphic habit of the Eastern Mediterranean in antiquity, from the inception of alphabetic writing to the seventh c. CE, aiming to identify whether there was one universal epigraphic culture in this area or a number of discrete epigraphic cultures. Chapters examine epigraphic culture(s) through quantitative analysis of 32,062 inscriptions sampled from ten areas in the Eastern Mediterranean, from the Black Sea coast to Greece, western to central Asia Minor, Phoenicia to Egypt. They show that the shapes of the epigraphic curves are due to different factors occurring in different geographical areas and in various epochs, including the pre-Greek epigraphic habit, the moment of urbanization and Hellenization, and the organized Roman presence. Two epigraphic maxima are identified in the Eastern Mediterranean: in the third c. BCE and in the second c. CE. This book differs from previous studies of ancient epigraphic culture by taking into account all categories of inscriptions, not just epitaphs, and in investigating a much broader area over the broadly defined classical antiquity. This volume is a valuable resource for anyone working on ancient epigraphy, history or the cultures of the Eastern Mediterranean.

This book brings Hellenistic and Roman Delphi to life. By addressing a broad spectrum of epigraphic topics, theoretical and methodological approaches, it provides readers with a first comprehensive discussion of the Delphic gift-giving system, its regional interactions, and its honorific network

This volume illustrates how the epigraphic habit is ubiquitous but variously expressed. Inscriptions become part of the fabric of Greek and Roman culture.

The volume explores linguistic practices and choices in the late antique Eastern Mediterranean. It investigates how linguistic diversity and change influenced the social dimension of human interaction, affected group dynamics, the expression and negotiation of various communal identities, such as professional groups of mosaic-makers, stonecutters, or their supervisors in North Syria, bilingual monastic communities in Palestine, elusive producers of Coptic ritual texts in Egypt, or Jewish communities in Dura Europos and Palmyra. The key question is: what do we learn about social groups and human individuals by studying their multilingualism and language practices reflected in epigraphic and other written sources?

Revision of the author's thesis (doctoral)--University of Pennsylvania, 2017, under the title: The writing on the wall: inscriptions and memory in the temples of late antique Greece and Asia Minor.

Written artefacts are traditionally studied because of their content. Material aspects of these artefacts enrich the study of ancient history in many ways. Eleven case studies in five sections on the ancient world, including the Near East, Egypt, the Mediterranean, China and India, demonstrate the impact of a holistic approach that considers materiality and content alike. Following an introductory sketch of relevant research, the first section, 'Methodological Considerations', critically examines the limitations the evidence available imposes on our understanding. 'Early Uses of Writing' addresses material and spatial aspects of inscriptions, and their communicative functions over the textual ones. The third section, 'Material Features', deals with clay, wooden and papyrus manuscripts and demonstrates the importance of an integrated approach. The contributions to 'Co-presence of Written Artefacts' take into account that written artefacts come in clusters. The final section, 'Cultural Encounters', presents studies on the interactions between social strata and ethnic groups, challenging previous ideas. The volume contributes to the comparative study of written artefacts in ancient history, stimulating cross-disciplinary and -cultural research.

The Material Dynamics of Festivals in the Graeco-Roman East explores the various ways in which the experience of civic festivals in the Graeco-Roman East was created and framed by material culture. By the second and third centuries AD, Greek festivals were thriving across the eastern Mediterranean. Much of our knowledge of these festivals, and their associated processions, rituals, banquets, and competitions, comes from material culture-- inscriptions, coins, architecture, and art-works. Yet each of these pieces of material evidence was the result of a conscious act, of what to record, and where and how to record it, with varying patterns discernible across different areas, and in different media. This volume draws attention to the choices made in a variety of different forms of material culture relating to Greek festivals from the Hellenistic to Roman periods, and unpicks the ways in which they encode or forge particular social relationships and power structures, as well as creating senses of community or communication between different groups. These helped to fix ephemeral events into public memory, to present particular views of their significance for the wider community, and to frame the experience of their participants.

Rome was an empire of images, especially images that bolstered their imperial identity. Visual and material items portraying battles, myths, captives, trophies, and triumphal parades were particularly important across the Roman empire. But where did these images originate and what shaped them? Empire of Images explores the development of the Roman visual language of power in the Republic in Iberian Peninsula, the Gallic provinces, and Greece and Macedonia, centering the development of imperial imagery in overseas conquest. Drawing on a range of material evidence, this book argues that Roman imperial imagery developed through prolonged interaction with and adaptation by subjugated peoples. Despite their starring role in Roman imagery, the populations of Rome’s provinces continuously reinterpreted and reimagined Roman images of power to navigate their membership in the new imperial community, and in doing so, contributed to the creation of a universal visual language that continues to shape how Rome is understood.