Age-old scholarly dogma holds that the death of serious theatre went hand-in-hand with the 'death' of the city-state and that the fourth century BC ushered in an era of theatrical mediocrity offering shallow entertainment to a depoliticised citizenry. The traditional view of fourth-century culture is encouraged and sustained by the absence of dramatic texts in anything more than fragments. Until recently, little attention was paid to an enormous array of non-literary evidence attesting, not only the sustained vibrancy of theatrical culture, but a huge expansion of theatre throughout (and even beyond) the Greek world. Epigraphic, historiographic, iconographic and archaeological evidence indicates that the fourth century BC was an age of exponential growth in theatre. It saw: the construction of permanent stone theatres across and beyond the Mediterranean world; the addition of theatrical events to existing festivals; the creation of entirely new contexts for drama; and vast investment, both public and private, in all areas of what was rapidly becoming a major 'industry'. This is the first book to explore all the evidence for fourth century ancient theatre: its architecture, drama, dissemination, staging, reception, politics, social impact, finance and memorialisation.

"Reflecting the innovative work of the Copenhagen Polis Centre's 2004 inventory of Archaic and Classical Greek city-states, Hansen's "shotgun method" for reconstructing and estimating the overall size and local distribution of the Greek population challenges the long-standing opinion that the majority of ancient Greeks lived a rural, subsistent life"--Provided by publisher.

Greek Art and Aesthetics in the Fourth Century B.C. analyzes the broad character of art produced during this period, providing in-depth analysis of and commentary on many of its most notable examples of sculpture and painting. Taking into consideration developments in style and subject matter, and elucidating political, religious, and intellectual context, William A. P. Childs argues that Greek art in this era was a natural outgrowth of the high classical period and focused on developing the rudiments of individual expression that became the hallmark of the classical in the fifth century. As Childs shows, in many respects the art of this period corresponds with the philosophical inquiry by Plato and his contemporaries into the nature of art and speaks to the contemporaneous sense of insecurity and renewed religious devotion. Delving into formal and iconographic developments in sculpture and painting, Childs examines how the sensitive, expressive quality of these works seamlessly links the classical and Hellenistic periods, with no appreciable rupture in the continuous exploration of the human condition. Another overarching theme concerns the nature of “style as a concept of expression,” an issue that becomes more important given the increasingly multiple styles and functions of fourth-century Greek art. Childs also shows how the color and form of works suggested the unseen and revealed the profound character of individuals and the physical world.

During the fourth century BC the number of Greeks who did not live as citizens in the city-states of southern mainland Greece increased considerably: mercenaries, pirates, itinerant artisans and traders, their origins differed widely. It has been argued that this increase was caused by the destruction of many Greek cities in the wars of the fourth century, accompanied by the large programme of settlement begun by Alexander in the East and Timoleon in the West. Although this was an important factor, argues Dr McKechnie, more crucial was an ideological deterioration of loyalties to the city: the polis was no longer absolutely normative in the fourth century and Hellenistic periods. With so many outsiders with specialist skills, Alexander and his successors were able to recruit the armies and colonists needed to conquer and maintain empires many times larger than any single polis had ever controlled.

After colonizing the Aegean islands and the coast of Asia Minor, the ancient Greeks turned toward southern Italy and Sicily, driven by the unrest that troubled their homeland in the eighth and seventh centuries B.C. The new arrivals brought with them their language, as well as their cultural and religious traditions and the institution of the polis. In Italy they created an autonomous political community that eventually surpassed the cities of Greece in wealth, military power, and architectural and cultural splendor. Such forefathers of Western philosophy as Pythagoras, Parmenides, and Archimedes lived and worked within this civilization. The Greek Cities of Magna Graecia and Sicily presents an overview of Greek colonization in Italy and the principal historical events that took place in this area from the Archaic period until the ascendancy of the Romans. This comprehensive survey is followed by a review of the major archaeological sites in the region.

A well-grounded study of the Greek contribution to law