Reconsidering the Mediterranean, appreciating and demarginalizing the peoples and cultures of this vast region, while considering the affinities and differences, is a valuable part of the process of unframing and reframing the concept of the Mediterranean. The authors of this volume follow Franco Cassano’s refusal of a sort of prêt-à-porter reality of cohabitation of cultures, introducing instead un’alternativa mediterranea, a world of multiple cultures that entails an ongoing learning and experiencing. The volume’s contributors use an interdisciplinary approach that mirrors the hybridity of the area and of the discipline, that is much more introspective and humanistic, more contemporary and inclusive.

This book aims to fill crucial temporal and disciplinary gaps in the field of Mediterranean Studies to provide a more cohesive study of the area, honing on interdisciplinary and contemporary perspectives to address the necessity of redefining the Mediterranean space.

The frames of classical art are often seen as marginal to the images that they surround. Traditional art history has tended to view framing devices as supplementary 'ornaments'. Likewise, classical archaeologists have often treated them as tools for taxonomic analysis. This book not only argues for the integral role of framing within Graeco-Roman art, but also explores the relationship between the frames of classical antiquity and those of more modern art and aesthetics. Contributors combine close formal analysis with more theoretical approaches: chapters examine framing devices across multiple media (including vase and fresco painting, relief and free-standing sculpture, mosaics, manuscripts and inscriptions), structuring analysis around the themes of 'framing pictorial space', 'framing bodies', 'framing the sacred' and 'framing texts'. The result is a new cultural history of framing - one that probes the sophisticated and playful ways in which frames could support, delimit, shape and even interrogate the images contained within.

The collection Imperial Middlebrow, edited by Christoph Ehland and Jana Gohrisch, takes middlebrow studies further in two ways. First, it focuses on the role middlebrow writing played in the popularisation and dissemination of imperial ideology. It combines the interest in the wider function of literature for a colonial society with close scrutiny of the ideological and socio-economic contexts of writers and readers. The essays cover the Girl’s Own Paper, fiction about colonial India including its appearance in Scottish writing, the West Indies, the South Pacific, as well as illustrations of Haggard’s South African imperial romances. Second, the volume proposes using the concept of the middlebrow as an analytical tool to read recent Black and Asian British as well as Nigerian fiction.

Round Trip to Hades in the Eastern Mediterranean Tradition explores the theme of visits to the underworld in the ancient Greek and Byzantine traditions from a broad perspective including written sources, iconography and archaeology.

Empires of the Sea brings together studies of maritime empires from the Bronze Age to the Eighteenth Century. The volume aims to establish maritime empires as a category for the (comparative) study of premodern empires, and from a partly ‘non-western’ perspective. The book includes contributions on Mycenaean sea power, Classical Athens, the ancient Thebans, Ptolemaic Egypt, The Genoese Empire, power networks of the Vikings, the medieval Danish Empire, the Baltic empire of Ancien Régime Sweden, the early modern Indian Ocean, the Melaka Empire, the (non-European aspects of the) Portuguese Empire and Dutch East India Company, and the Pirates of Caribbean.