The culmination of a project aimed at showcasing, in a systematic way, the potential of applying anthropological perspectives to classical studies, this volume highlights the fundamental contribution this approach has to make to our understanding of ancient Roman culture. Through the close study of themes such as myth, polytheism, sacrifice, magic, space, kinship, the gift, friendship, economics, animals, plants, riddles, metaphors, and images in Roman society (often in comparison with Greece) - where the texts of ancient culture are allowed to speak in their own terms and where the experience of the natives (rather than the horizon of the observer) is privileged - a rich panorama emerges of the worldview, beliefs, and deep structures that shaped and guided this culture.

The culmination of a project aimed at showcasing, in a systematic way, the potential of applying anthropological perspectives to classical studies, this volume highlights the fundamental contribution this approach has to make to our understanding of ancient Roman culture. Through the close study of themes such as myth, polytheism, sacrifice, magic, space, kinship, the gift, friendship, economics, animals, plants, riddles, metaphors, and images in Roman society (often in comparison with Greece) - where the texts of ancient culture are allowed to speak in their own terms and where the experience of the natives (rather than the horizon of the observer) is privileged - a rich panorama emerges of the worldview, beliefs, and deep structures that shaped and guided this culture.

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.

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.

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.

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.