Facing Antiquity

Polemon of Laodicea (near modern Denizli, south-west Turkey) was a wealthy Greek aristocrat and a key member of the intellectual movement known as the Second Sophistic. Among his works was the Physiognomy, a manual on how to tell character from appearance, thus enabling its readers to choose friends and avoid enemies on sight. Its formula of detailed instruction and personal reminiscence proved so successful that the book was re-edited in the fourth century by Adamantius in Greek, translated and adapted by an unknown Latin author of the same era, and translated in the early Middle Ages into Syriac and Arabic. The surviving versions of Adamantius, Anonymus Latinus, and the Leiden Arabic more than make up for the loss of the original. The present volume is the work of a team of leading Classicists and Arabists. The main surviving versions in Greek and Latin are translated into English for the first time. The Leiden Arabic translation is authoritatively re-edited and translated, as is a sample of the alternative Arabic Polemon. The texts and translations are introduced by a series of masterly studies that tell the story of the origins, function, and legacy of Polemon's work, a legacy especially rich in Islam. The story of the Physiognomy is the story of how one man's obsession with identifying enemies came to be taken up in the fascinating transmission of Greek thought into Arabic.

Come face to face with the ancient peoples of the bible lands in the evocative images on these 22 full-color postcards of objects featured in "Canaan and Ancient Israel," the first major North American exhibition dedicated to the archaeology of ancient Israel and neighboring lands. This permanent installation at the University of Pennsylvania Museum of Archaeology and Anthropology features more than 500 rare artifacts, excavated by Museum archaeologists in Israel, Jordan, the West Bank, and Lebanon.

Elegant, slippery, and provocative, Antiquity is a queer Lolita story by prize-winning Swedish author Hanna Johansson—a story of desire, power, obsession, observation, and taboo On a Greek island rich with ancient beauty, a lonely woman in her thirties upends the relationship between a mother and her teenage daughter. Lust and admiration for Helena, a chic older artist, brings Antiquity’s unnamed narrator to Ermoupoli, where Helena’s daughter, Olga, seems at first like an obstacle and a nuisance. But the unpredictable forces of ego and desire take over, leading our narrator down a more dangerous path, and causing the roles of lover and beloved, child and adult, stranger and intimate to become distorted. As the months go by, the fragile web connecting the three women nears rupture, and the ominous consequences of their entanglement loom just beyond a summer that must end. With echoes of Death in Venice, Call Me by Your Name, and The Lover, but wholly original and contemporary, Antiquity probes the depths of memory, beauty, morality, and the narratives that arrange our experience of the world.

The Huns, invading through Dariali Gorge on the modern-day border between Russia and Georgia in AD 395 and 515, spread terror across the late antique world. Was this the prelude to the apocalypse? Prophecies foresaw a future Hunnic onslaught, via the same mountain pass, bringing about the end of the world. Humanity’s fate depended on a gated barrier deep in Europe’s highest and most forbidding mountain chain. Centuries before the emergence of such apocalyptic beliefs, the gorge had reached world fame. It was the target of a planned military expedition by the Emperor Nero. Chained to the dramatic sheer cliffs, framing the narrow passage, the mythical fire-thief Prometheus suffered severe punishment, his liver devoured by an eagle. It was known under multiple names, most commonly the Caspian or Alan Gates. Featuring in the works of literary giants, no other mountain pass in the ancient and medieval world matches Dariali’s fame. Yet little was known about the materiality of this mythical place. A team of archaeologists has now shed much new light on the major gorge-blocking fort and a barrier wall on a steep rocky ridge further north. The walls still standing today were built around the time of the first major Hunnic invasion in the late fourth century – when the Caucasus defences feature increasingly prominently in negotiations between the Great Powers of Persia and Rome. In its endeavour to strongly fortify the strategic mountain pass through the Central Caucasus, the workforce erased most traces of earlier occupation. The Persian-built bastion saw heavy occupation for 600 years. Its multi-faith medieval garrison controlled Trans-Caucasian traffic. Everyday objects and human remains reveal harsh living conditions and close connections to the Muslim South, as well as the steppe world of the north. The Caspian Gates explains how a highly strategic rock has played a pivotal role in world history from Classical Antiquity into the twentieth century.

Jerome of Stridon and the Ethics of Literary Production in Late Antiquity offers a new account of the development of Jerome’s work in the period 386-393CE. Focusing on his commentaries, his translation projects, and his work against heresy, it argues that Jerome has a consistent theology of language and embodiment.

From the first major discoveries in the 19th century, the painted panel and shroud portraits of Roman Egypt were a revelation to scholars and the public alike. Though the subjects of the portraits believed in the traditional Egyptian cults which offered them a firm prospect of life after death, they also wished to be commemorated in the Roman manner, the portraits focusing on their status in life. The images reveal the adoption of Roman fashions in dress and personal adornment by persons remote from the centre of the empire, but likely to have been actively engaged in its local administration. Many of the best known mummy portraits come from the Fayum, but portraits in various media are known from sites in the Nile Valley and along the Mediterranean coast. This text presents a wide range of examples, showing Roman influence coexisting with traditional Egyptian ways of commemorating the dead.