This multi-disciplinary volume brings together essays illustrating the diversity of forms in which the legacy of Antiquity has been used, and abused, by the Modern West. Here classicists and non-classicists combine to show how historiography, anthropology, philosophy, political thought, archaeology, poetry, drama, the novel, music, architecture, sculpture, painting, photography, and film can be rewardingly juxtaposed as sites rich in the appropriation of Greco-Roman culture. The book has a chronological span running from the 17th to the late-20th century, and it ranges geographically from Britain to Europe and the USA. The authors remind us that it is often not the past itself so much as constructed images thereof which do most to mould our cultural consciousness. The collection discloses the pluralism and flexibility of Antiquity as an important modern symbolic source, and the variety of socio-cultural circumstances which have oriented us towards it. At many points these essays also analyse signs of a certain desire for release from a tradition viewed as troublesome and constraining. Yet they also tend to confirm that, whenever we seek to escape classical culture, we are still likely to be held within its trammels - that, even when we think that we have thrown it off, we seem fated to remain within its protean thrall.

Although a third of his plays are set in the ancient world and he constantly used classical mythology, history, and ideas, Shakespeare received a simple grammar school education and did not have a scholar's knowledge of the classics. The critical implications of this are the subject of Shakespeare and the Uses of Antiquity. Against a recent academic tendency to exaggerate Shakespeare's learning, the authors investigate how he used his comparatively restricted knowledge to create, for example, an unusually convincing picture of Rome, and analyse, by presenting us with careful readings of specific passages, the styles Shakespeare employed under the influence of classical writers, especially Ovid, Seneca, and (in translation) Homer and Plutarch.

Because pyrotechnology was considered a demeaning craft, there is very little about its practice in ancient texts; our knowledge of early developments is based almost entirely on interpretation of artifacts recovered by archaeology during the past century and a half. Literature in archaeology and anthropology, however, tends to concentrate on the artifact found rather than on how it was produced - on the pot or spearhead rather than the kiln or furnace. There is thus surprisingly little information on the practice and importance of pyrotechnology. The Mastery and Uses of Fire in Antiquity, written by an engineer with fifty years of experience in industrial research and pyrotechnology, rectifies this lack. J.E. Rehder covers the kinds of furnaces, the nature of the fuel used, and the productions created - fired clay, lime from limestone, metals from the reduction of ores, and glass from sand. He also shows convincingly that previous arguments that early deforestation resulted from furnace use cannot be supported. The Mastery and Uses of Fire in Antiquity provides much-needed information for anyone interested in archaeology, anthropology, and pyrotechnology.

Classical Archaeologists, art historians and artists consider the Role of the Artist' in the rediscovery of the past.

The institutionalization of History and Philosophy of Science as a distinct field of scholarly endeavour began comparatively earl- though not always under that name - in the Australasian region. An initial lecturing appointment was made at the University of Melbourne immediately after the Second World War, in 1946, and other appoint ments followed as the subject underwent an expansion during the 1950s and 1960s similar to that which took place in other parts of the world. Today there are major Departments at the University of Melbourne, the University of New South Wales and the University of W ollongong, and smaller groups active in many other parts of Australia and in New Zealand. 'Australasian Studies in History and Philosophy of Science' aims to provide a distinctive pUblication outlet for Australian and New Zealand scholars working in the general area of history, philosophy and social studies of science. Each volume comprises a group of essays on a connected theme, edited by an Australian or a New Zealander with special expertise in that particular area. Papers address general issues, however, rather than local ones; parochial topics are avoided. Further more, though in each volume a majority of the contributors is from Australia or New Zealand, contributions from elsewhere are by no means ruled out. Quite the reverse, in fact - they are actively encouraged wherever appropriate to the balance of the volume in question.

The art of the human body is arguably the most important and wide-ranging legacy bequeathed to us by Classical antiquity. Not only has it directed the course of western image-making, it has shaped our collective cultural imaginary - as ideal, antitype, and point of departure. This book is the first concerted attempt to grapple with that legacy: it explores the complex relationship between Graeco-Roman images of the body and subsequent western engagements with them, from the Byzantine icon to Venice Beach (and back again). Instead of approaching his material chronologically, Michael Squire faces up to its inherent modernity. Writing in a lively and accessible style, and supplementing his text with a rich array of pictures, he shows how Graeco-Roman images inhabit our world as if they were our own. The Art of the Body offers a series of comparative and thematic accounts, demonstrating the range of cultural ideas and anxieties that were explored through the figure of the body both in antiquity and in the various cultural landscapes that came afterwards. If we only strip down our aesthetic investment in the corpus of Graeco-Roman imagery, Squire argues, this material can shed light on both ancient and modern thinking. The result is a stimulating process of mutual illumination - and an exhilarating new approach to Classical art history.

African antiquity has been discerned both nullifyingly and constructively. Uses of African Antiquity in the Twentieth and Twenty-First Centuries reveals how reading the past can be extended to understand sensitivities involving origins and how it imparts collective posture. The ancient historical imagery epitomized by writers and artists alike includes the distant past as well as an immediate past. Comparatively, representation of time long gone records transhistorical presence and civilizational participation and agentic validity. African antiquity can be construed as diasporic through time and space and in regards to nomenclature it extends understanding of peopleness, e.g. Libya, Ethiopia, Africa, Afrika, African Egypt, Kemet, Alkebu-lan, Nubia, Ta-Seti, Ta-Nehisi, Ta-Merry, Kush, Axum, Meroë, Ghana, Mali, Songhai, Zulu, and so many more are recognized in a time-spatial continuum linked to African, Colored, Negro, and Black, as various terms inform origins identity. Unfortunately, typologies disciplinarily stem from anthropological construction, yet here African antiquity as sign heralds clines and clusters; splintering Africana from humanitas ultimately contends against subjugation. African antiquity absorbs character and notions of diachronologically dispersed peoples reflect origins indulgence. African antiquity as a stretched concept and/or historicism triply adds understanding, grouping, and alterity. This primarily is a review of thinkers who defend against people erasure in the past with its socially and nihilistic affective ways.