The just distribution of social goods was fiercely debated in the ancient Mediterranean and the ideologies of egalitarianism and inegalitarianism developed in Rome and Athens shaped Euro-American political thought from the Enlightenment onward. By contrast, the study of actual income and wealth distributions in ancient societies is a more recent development. Only in the early 21st century have scholars begun to make systematic attempts to quantify levels of inequality in the ancient Mediterranean and Near East. Since we lack the documentary sources on which the study of inequality in contemporary economies is based, most of these reconstructions rely on a combination of modelling and the interpretation of isolated figures found in literary texts. This fragmentary evidence suggests that in the best-attested regions of the ancient Mediterranean and Near East inequality was considerable. In particular, the formation of large territorial states—most notably the empires of Babylon, Persia, and Rome—facilitated the concentration of wealth into fewer hands. But it is unclear whether inequality increased over time. At least, there is no unambiguous evidence that wealth and income were more unequally distributed in late antiquity than in earlier periods of Roman history.
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Noah Hacham
The short book of 3 Maccabees, written in Egypt in the Hellenistic or Roman period and almost unknown in antiquity, records king Ptolemy Philopator’s (221–204
While the book’s historical credibility regarding these events is dubious, it should be seen as an important historical source for the life of Egyptian Jewry and the challenges that it faced during the Hellenistic-Roman period. The book has a discernible four-faceted agenda: (a) Jews are loyal both to their God and to the king, although they cannot be confident of the king’s goodwill toward them; (b) the God of Israel is the Jews’ protector and savior; (c) He also revealed Himself in the Diaspora, far away from the Jerusalemite Temple. The book is also (d) an anti-Dionysiac polemic.
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Dimitri Nakassis
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Neville Morley
The Greeks and Romans did not develop a concept of “the economy” or discuss economic matters at any length; the study of the ancient economy therefore began only in the late 18th century, in parallel with the developing study of contemporary economic development, and was heavily influenced from the beginning by the question of the relationship between antiquity and modernity. The field has long been dominated by two different but closely connected debates about the nature and degree of development of the ancient economy (was it “primitive” or, on the contrary, proto-modern?) and about the correct theoretical and methodological tools for studying it, with constant anxieties about the dangers of anachronism. A notable trend has been the increasing weight given to material as compared with literary evidence, as archaeologists have accumulated ever greater information about economic activity, leading to calls in recent years to focus on ancient economic performance rather than on the structures of culture and thought that supposedly inhibited ancient development.
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Rebecca Futo Kennedy and Katherine Blouin
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Antonis Kotsonas
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Laura Mecella
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Emma Cole
Ancient drama has had a vast influence upon the literary, performance, and intellectual culture of modernity. From ancient Greece thirty-two tragedies, eleven comedies, and one satyr play survive, and from ancient Rome ten tragedies and twenty-seven comedies remain, alongside countless fragments from all genres. Many of the surviving plays are staged in contemporary theatre in both literal translation and more liberal adaptation, and today more ancient drama is seen in professional theatres than at any point since antiquity. Although all ancient dramatic genres have a rich reception history, Greek tragedy dominates the field, particularly in the 20th and 21st centuries. Productions of Greek tragedy today range from masked performances in the original language through to radical, avant-garde, immersive, and postdramatic reinventions. Greek tragedy is also frequently used as a touchstone within literary theory and broader intellectual discourse, from the theorisation of the ideal form of performance (Wagner’s Gesamtkuntswerk) to the development of psychoanalytic theory (Freud’s Oedipus complex) and structuralism (Lévi-Strauss). Ancient drama has also provided inspiration for entirely new dramatic forms; the influence of Roman tragedy, for example, can be felt within the revenge tragedies of the Elizabethan and Jacobean eras, while traces of Roman comedy can be felt in slapstick comedy and Italian commedia dell’arte. Current growth areas within both artistic practice, and academic research into the reception of ancient drama, include the performance reception of dramatic fragments, an increased interest in forms such as burlesque and pantomime, and the use of ancient drama as a tool of resistance against oppressive political regimes.
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Diana Spencer
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Sofie Remijsen
Whereas chariot races gained popularity in late antiquity, athletics declined. Traditional agones, such as the Olympics, disappeared in the course of the 4th and 5th centuries