Against Roman Rule

Author(s):  
Simon Goldhill

This article examines certain types of narrative from rabbinical sources and how they relate both to forms of social life and to expectations of Greco-Roman narrative, genre, and normativity. It situates them within the context of the writings of Hellenistic Judaism and to the adoption of Greco-Roman models by what becomes the dominant religious authority of the Christians. It also explores the particularity of the textual world of the Talmud as an issue of the construction and performance of subjectivity and concludes by highlighting the importance of the connection between narrative and lived experience for rabbinical writing and for the construction of the subject’s positionality within it. It argues that the Talmud reveals a defeated national group reforming its community in interaction with—and often in fierce and fearful contention with and gestures of separation from—dominant Greco-Roman culture, and from other Jews, more assimilated to that dominant culture.

2013 ◽  
Vol 4 (3) ◽  
pp. 352-378
Author(s):  
Clint Burnett

This article questions the longstanding supposition that the eschatology of the Second Temple period was solely influenced by Persian or Iranian eschatology, arguing instead that the literature of this period reflects awareness of several key Greco-Roman mythological concepts. In particular, the concepts of Tartarus and the Greek myths of Titans and Giants underlie much of the treatment of eschatology in the Jewish literature of the period. A thorough treatment of Tartarus and related concepts in literary and non-literary sources from ancient Greek and Greco-Roman culture provides a backdrop for a discussion of these themes in the Second Temple period and especially in the writings of Philo of Alexandria.


This book concerns figurines from cultures that have no direct links with each other. It explores the category of the figurine as a key material concept in the art history of antiquity through comparative juxtaposition of papers drawn from Chinese, pre-Columbian, and Greco-Roman culture. It extends the study of figurines beyond prehistory into ancient art-historical contexts. At stake are issues of figuration and anthropomorphism, miniaturization and portability, one-off production and replication, substitution and scale. Crucially, figurines are objects of handling by their users as well as their makers—so that, as touchable objects, they engage the viewer in different ways from flat art. Unlike the voyeuristic relationship of viewing a neatly framed pictorial narrative, as if from the outside, the viewer as handler is always potentially and without protection within the narrative of figurines. This is why they have had potential for a potent, even animated, agency in relation to those who use them.


2020 ◽  
Vol 21 (42) ◽  
pp. 43-54
Author(s):  
Ella Parodi

In an article, ‘The Slaves were Happy’: High School Latin and the Horrors of Classical Studies, Erik Robinson, a Latin teacher from a public high school in Texas, criticises how, in his experience, Classics teaching tends to avoid in-depth discussions on issues such as the brutality of war, the treatment of women and the experience of slaves (Robinson, 2017). However, texts such as the article ‘Teaching Sensitive Topics in the Secondary Classics Classroom’ (Hunt, 2016), and the book ‘From abortion to pederasty: addressing difficult topics in the Classics classroom’ (Sorkin Rabinowitz & McHardy, 2014) strongly advocate for teachers to address these difficult and sensitive topics. They argue that the historical distance between us and Greco-Roman culture and history can allow students to engage and participate in discussions that may otherwise be difficult and can provide a valuable opportunity to address uncomfortable topics in the classroom. Thus, Robinson's assertion that Classics teaching avoids these sensitive topics may not be so definitive. Regardless, Robinson claims that honest confrontations in the classroom with the ‘legacy of horror and abuse’ from the ancient world can be significantly complicated by many introductory textbooks used in Latin classes, such as the Cambridge Latin Course (CLC), one of the most widely used high school Latin textbooks in use in both America and the United Kingdom (Robinson, 2017). In particular, Robinson views the presentation of slavery within the CLC as ‘rather jocular and trivialising’ which can then hinder a reader's perspective on the realities of the violent and abusive nature of the Roman slave trade (Robinson, 2017). As far as he was concerned, the problem lay with the characterisation of the CLC's slave characters Grumio and Clemens, who, he argued, were presented there as happy beings and seemingly unfazed by their positions as slaves. There was never any hint in the book that Grumio or Clemens were unhappy with their lives or their positions as slaves, even though, as the CLC itself states in its English background section on Roman slavery, Roman law ‘did not regard slaves as human beings, but as things that could be bought or sold, treated well or badly, according to the whim of their master’ (CLC I, 1998, p. 78). One might argue, therefore, that there seems to be a disconnect between the English language information we learn about the brutality of the Roman slave trade provided in the background section of Stage 6, and what we can infer about Roman slavery from the Latin language stories involving our two ‘happy’ slaves.


2016 ◽  
Vol 47 (1) ◽  
pp. 28-59 ◽  
Author(s):  
Michael DeLand

This article investigates the production and re-production of a recurring pickup basketball game at a public park in Santa Monica, California. I argue that it is best understood as a recurring “scene”—an ecologically shaped, biographically significant, interactionally accomplished, and narratively organized pattern of social life—colloquially known as the “Ocean Run.” Drawing on Kenneth Burke’s dramatism, I suggest that the scene is constituted by the interrelation of the park’s socioecological landscape (“stage”), the diverse personal meanings that players construct through their participation (“cast”), and the practical work of re-creating the scene through situated interactions (“performance”). The park stage facilitates a sense of intimacy for players with very different personal relationships to each other and to the scene. Those players then actively mix themselves up, re-creating the scene through an “improvisational” style of team formation. Place, people, and action are dialectically related in the patterning of public life. This method of analysis is replicable in a wide variety of public scenes and sets up concrete grounds for comparison and theoretical generalizability.


Author(s):  
Drago Župarić

Christianity, having developed in a Jewish setting, quickly separated from Judaism and opened itself to the aspirations of the Greco-Roman world. This paper will explore the first Christian communities in Jerusalem, Antioch and Rome, from whence Christianity spread to the ends of the Mediterranean basin, that is to say, through the Roman Empire. Each of the aforementioned  communities, which were very well respected, will be discussed with regards to  the date of their foundation, the source material concerning these communities, and their prominent characteristics. In other words, this paper will discuss  the spread of Christianity, with reference to the question of the triumphant  campaign of the young Church from Jerusalem to Rome. After the acceptance of pagans into their communities, Christianity as a new religion began to gain importance, and the number of adherents grew quickly. The Christian community was declared an opposition to imperial government, and was already heavily repressed by the mid-1  century. The communities that survived repression sought peace; that is, collaboration between the  Roman state and the “early Church”, which was seen as a new institution. The  cult opened itself more and more to the outside world and different cultures,  which led to the mingling of Christians and pagans, leading to many theological disputes, especially concerning the “divinity” of Jesus Christ. Between the 1st  and 2nd st  century the beginnings of Christianity should be viewed as an organization in which commissions and administrations are present, as the number of believers grew and the need for better organization arose. The basis of the rapid expansion of Christianity in the old world should  certainly be viewed in its universality. The author of this paper touches upon  the question of the beginnings of Christianity in Dalmatia and Pannonia, side by side with Roman culture. Christianity was not very influential in the Roman province of Dalmatia until the mid-3  century, even though it is likely that there were smaller Christian groups here, as well as organized Christian communities.


1997 ◽  
Vol 43 (2) ◽  
pp. 184-208 ◽  
Author(s):  
John Granger Cook

‘Now Simon's mother-in-law was in bed with a fever, and they told him about her at once. He came and took her by the hand and lifted her up. Then the fever left her, and she began to serve them.’1 Does the author of the Gospel of Mark believe that the fever in Mark 1.30 is demonic? Or does he trace it to the power of God? It is also possible that he looks at the fever as a result of medical causes. It could be the case he author has no clear perception of the cause of the fever. In the Greco-Roman culture of Mark's audience, the fever could be seen as the result of medical, astrological, divine, or demonic causes. This set of facts will be established below. The text in Mark can then be read in four different ways depending on the understanding of fever that the scholar chooses to adopt. Given the cultural possibilities for understanding fever, Mark's text takes on a certain ambiguity. The ambiguity should be carefully upheld in light of recent attempts to precisely identify the Markan etiology of the fever.


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