In Juvenal’s Global Awareness Osman Umurhan applies theories of globalization to an investigation of Juvenal’s articulation and understanding of empire, imperialism and identity. Umurhan explains how the increased interconnectivity between different localities, ethnic and political, shapes Juvenal’s view of Rome as in constant flux and motion. Theoretical and sociological notions of deterritorialization, time-space compression and the rhizome inform the satirist’s language of mobility and his construction of space and place within second century Rome and its empire. The circulation of people, goods and ideas generated by processes of globalization facilitates Juvenal’s negotiation of threats and changes to Roman institutions that include a wide array of topics, from representatios of the army and food to discussions of cannibalism and language. Umurhan’s analysis stresses that Juvenalian satire itself is a rhizome in both function and form. This study is designed for audiences interested in Juvenal, empire and globalization under Rome.

The poet Juvenal is one of the most important ancient Roman authors, and his sixteen satires have left a strong mark on western literature. Despite his great influence, little is known about the poet’s life, beyond unreliable details gleaned from his poetry. Yet Juvenal’s satires contain a wealth of information about the mentality of imperial-era Romans. This volume offers a fresh and student-friendly translation of two of Juvenal’s most provocative poems: Satire 2 and Satire 6. With their common focus on gender and sexuality, these two works are of particular interest to today’s readers. Both Satire 2 and Satire 6 target effeminate men and wayward women as objects of ridicule, and they ruthlessly mock their behavior in an effort to expose deep-seated problems in Roman society. The longer of the two works, Juvenal’s sixth satire, addresses a basic question, “Why get married?,” in a tone of spite and ferocity, and its details are disturbingly graphic. Satire 2 is a shorter but equally pointed tirade against effeminacy and passive homosexuality. Taken together, the poems compel readers to critique the discourse of gender stereotypes and misogyny. For students and scholars of gender and sexuality, these poems are crucial texts. Chiara Sulprizio’s lively translation, perfectly suited for classroom use, captures the vivid spirit of Juvenal’s poems, and her extensive notes enhance the volume’s appeal by explicating the poems from a gendered perspective. An in-depth introduction by Sarah H. Blake places the satires within their broader literary, historical, and cultural context.

Gilbert Highet (1906-1978) was one of Columbia University's greatest teachers and in his day the most celebrated classical scholar in America. One may regard his life and career as both extraordinary and controversial. Now, over forty years after his death, a fresh retrospect seems appropriate, as a way of presenting new information about him and evaluating his enduring classical legacy for the twenty-first century reader. This fully documented biographical appreciation of Highet's life and work, capped by fully updated bibliographies of publications by him and about him, offers a long-overdue "official life" of this unique and towering figure.

On the road : from Gades to Rome on the itinerary cups -- At the Games : charioteers and gladiators on spectacle cups -- On the border : Hadrian's wall on the Fort Pans -- By the sea : Baiae and Puteoli on the Bay Bottles.

Interdisciplinary Essays on Cannibalism: Bites Here and There brings together a range of works exploring the evolution of cannibalism, literally and metaphorically, diachronically and across disciplines. This edited collection aims to promote a conversation on the evolution and the different uses of the tropes and figures of cannibalism, in order to understand and deconstruct the fascination with anthropophagy, its continued afterlife and its relation to different disciplines and spaces of discourse. In order to do so, the contributing authors shed a new light not only on the concept, but also propose to explore cannibalism through new optics and theories. Spanning 15 chapters, the collection explores cannibalism across disciplines and fields from Antiquity to contemporary speculative fiction, considering history, anthropology, visual and film studies, philosophy, feminist theories, psychoanalysis and museum practices. This collection of thoughtful and thought-provoking scholarly contributions suggests the importance of cannibalism in understanding human history and social relations.

In this first comprehensive reading of Juvenal’s satires in more than fifty years, David H. J. Larmour deftly revises and sharpens our understanding of the second-century Roman writer who stands as the archetype for all later practitioners of the satirist’s art. The enduring attraction of Juvenal’s satires is twofold: they not only introduce the character of the “angry satirist” but also offer vivid descriptions of everyday life in Rome at the height of the Empire. In Larmour’s interpretation, these two elements are inextricably linked. The Arena of Satire presents the satirist as flaneur traversing the streets of Rome in search of its authentic core—those distinctly Roman virtues that have disappeared amid the corruption of the age. What the vengeful, punishing satirist does to his victims, as Larmour shows, echoes what the Roman state did to outcasts and criminals in the arena of the Colosseum. The fact that the arena was the most prominent building in the city and is mentioned frequently by Juvenal makes it an ideal lens through which to examine the spectacular and punishing characteristics of Roman satire. And the fact that Juvenal undertakes his search for the uncorrupted, authentic Rome within the very buildings and landmarks that make up the actual, corrupt Rome of his day gives his sixteen satires their uniquely paradoxical and contradictory nature. Larmour’s exploration of “the arena of satire” guides us through Juvenal’s search for the true Rome, winding from one poem to the next. He combines close readings of passages from individual satires with discussions of Juvenal’s representation of Roman space and topography, the nature of the “arena” experience, and the network of connections among the satirist, the gladiator, and the editor—or producer—of Colosseum entertainments. The Arena of Satire also offers a new definition of “Juvenalian satire” as a particular form arising from the intersection of the body and the urban landscape—a form whose defining features survive in the works of several later satirists, from Jonathan Swift and Evelyn Waugh to contemporary writers such as Russian novelist Victor Pelevin and Irish dramatist Martin McDonagh.