Paul’s letter to the Romans has a long history in Christian dogmatic battles. But how might the letter have been heard by an audience in Neronian Rome? James R. Harrison answers that question through a reader-response approach grounded in deep investigations of the material and ideological culture of the city, from Augustus to Nero. Inscriptional, archaeological, monumental, and numismatic evidence, in addition to a breadth of literary material, allows him to describe the ideological “value system” of the Julio-Claudian world, which would have shaped the perceptions and expectations of Paul’s readers. Throughout, Harrison sets prominent Pauline themes‒‒his obligation to Greeks and barbarians, newness of life and of creation against the power of death, the body of Christ, “boasting” in “glory” and God’s purpose in and for Israel‒‒in startling juxtaposition with Roman ideological themes. The result is a richer and more complex understanding of the letter’s argument and its possible significance for contemporary readers.

James R. Harrison investigates how Paul's letter to the Romans might have been heard by an audience in Neronian Rome by examining the material and ideological culture of the city and setting prominent Pauline themes in juxtaposition with Roman ideological themes.

According to Brad Vaughn, some traditional East Asian cultural values are closer to those of the first-century biblical world than common Western cultural values. In this work Vaughn demonstrates how paying attention to East Asian culture provides a helpful lens for interpreting Paul's most complex letter, and we see how honor and shame shape so much of Paul's message and mission.

The artists of Ancient Rome portrayed the barbarian enemies of the empire in sculpture, reliefs, metalwork and jewellery. Enemies of Rome shows how the study of these images can reveal a great deal about the barbarians, as well as Roman art and the Romans view of themselves.

A sweeping intellectual history of the role of wealth in the church in the last days of the Roman Empire Jesus taught his followers that it is easier for a camel to go through the eye of a needle than for a rich man to enter heaven. Yet by the fall of Rome, the church was becoming rich beyond measure. Through the Eye of a Needle is a sweeping intellectual and social history of the vexing problem of wealth in Christianity in the waning days of the Roman Empire, written by the world's foremost scholar of late antiquity. Peter Brown examines the rise of the church through the lens of money and the challenges it posed to an institution that espoused the virtue of poverty and called avarice the root of all evil. Drawing on the writings of major Christian thinkers such as Augustine, Ambrose, and Jerome, Brown examines the controversies and changing attitudes toward money caused by the influx of new wealth into church coffers, and describes the spectacular acts of divestment by rich donors and their growing influence in an empire beset with crisis. He shows how the use of wealth for the care of the poor competed with older forms of philanthropy deeply rooted in the Roman world, and sheds light on the ordinary people who gave away their money in hopes of treasure in heaven. Through the Eye of a Needle challenges the widely held notion that Christianity's growing wealth sapped Rome of its ability to resist the barbarian invasions, and offers a fresh perspective on the social history of the church in late antiquity.

To read Romans from beginning to end, from letter opening to final doxology, is to retrace the steps of Paul. To read Romans front to back was what Paul certainly intended. But to read Romans forward may have kept the full message of Romans from being perceived. Reading forward has led readers to classify Romans as abstract and systematic theology, as a letter unstained by real pastoral concerns. But what if a different strategy were adopted? Could it be that the secret to understanding the relationship between theology and life, the key to unlocking Romans, is to begin at the letter's end? Scot McKnight does exactly this in Reading Romans Backwards. McKnight begins with Romans 12-16, foregrounding the problems that beleaguered the house churches in Rome. Beginning with the end places readers right in the middle of a community deeply divided between the strong and the weak, each side dug in on their position. The strong assert social power and privilege, while the weak claim an elected advantage in Israel's history. Continuing to work in reverse, McKnight unpacks the big themes of Romans 9-11--God's unfailing, but always surprising, purposes and the future of Israel--to reveal Paul's specific and pastoral message for both the weak and the strong in Rome. Finally, McKnight shows how the widely regarded universal sinfulness of Romans 1-4, which is so often read as simply an abstract soteriological scheme, applies to a particular rhetorical character's sinfulness and has a polemical challenge. Romans 5-8 equally levels the ground with the assertion that both groups, once trapped in a world controlled by sin, flesh, and systemic evil, can now live a life in the Spirit. In Paul's letter, no one gets off the hook but everyone is offered God's grace. Reading Romans Backwards places lived theology in the front room of every Roman house church. It focuses all of Romans--Paul's apostleship, God's faithfulness, and Christ's transformation of humanity--on achieving grace and peace among all people, both strong and weak. McKnight shows that Paul's letter to the Romans offers a sustained lesson on peace, teaching applicable to all divided churches, ancient or modern.

In Roman Eyes, Jas Elsner seeks to understand the multiple ways that art in ancient Rome formulated the very conditions for its own viewing, and as a result was complicit in the construction of subjectivity in the Roman Empire. Elsner draws upon a wide variety of visual material, from sculpture and wall paintings to coins and terra-cotta statuettes. He examines the different contexts in which images were used, from the religious to the voyeuristic, from the domestic to the subversive. He reads images alongside and against the rich literary tradition of the Greco-Roman world, including travel writing, prose fiction, satire, poetry, mythology, and pilgrimage accounts. The astonishing picture that emerges reveals the mindsets Romans had when they viewed art--their preoccupations and theories, their cultural biases and loosely held beliefs. Roman Eyes is not a history of official public art--the monumental sculptures, arches, and buildings we typically associate with ancient Rome, and that tend to dominate the field. Rather, Elsner looks at smaller objects used or displayed in private settings and closed religious rituals, including tapestries, ivories, altars, jewelry, and even silverware. In many cases, he focuses on works of art that no longer exist, providing a rare window into the aesthetic and religious lives of the ancient Romans.