Academic literature on the topic 'Théâtre – Histoire – 20e siècle'

CERAMICA A VERNICE NERA DALL'ACROPOLI DI CAPENA (LA CIVITUCOLA, PROVINCIA DI ROMA)Con questo articolo si pubblica la ceramica a vernice nera scoperta durante una serie di scavi condotti alla Civitucola dal Gruppo Archeologico Romano durante i primi anni Novanta del secolo scorso. Il materiale (ca. 500 frammenti diagnostici) coprono un arco cronologico di oltre 200 anni, dagli inizi del IV al tardo II secolo a.C, con un picco di presenze durante i decenni centrali di quest'ultimo secolo. Tale aspetto riguarda sia la ceramica a vernice nera importata, sia quella destinata alla commercializzazione locale, che, piuttosto che sovrapporsi nei dettagli morfalogici, tendi a ricorrere in forme specifiche con corpo ceramico distinto. Di particolare interesse a questo riguardo è la pasta principale prodotta localmente (pasta n. I). La ceramica prodotta con questo pasta combina gli stili tradizionali di Capena con elementi comunemente riscontrati nella ceramica a vernice nera in altre parti dell'Italia centrale, ma senza copiare lo stile dei tipi principali della ceramica importata (pasta V). L'articolo conclude con il suggerimento che questi modelli, paragonabili con altre situazioni in Italia centrale, siano studiati nell'ambito del contesto della crescente diversificazione culturale a livello regionale all'interno del più ampio processo storico della romanizzazione d'Italia.

STORIA INSEDIAMENTALE, AMBIENTE E SFRUTTAMENTO UMANO DI UN BACINO INTERMONTANO NELL'APPENNINO CENTRALE: IL RIETI SURVEY, 1988–1991, I. PARTEQuesto progetto è diretto allo studio del paesaggio rurale intorno alla città di Rieti, nell'Italia centrale e in particolare si propone di esaminare, in un ampio fronte diacronico, il mutamento del modello insediamentale e i diversi modi di sfruttamento dell'alto bacino appenninico e delle colline e dei monti circostanti. Sono qui descritti gli scopi ed i metodi interdisciplinari del progetto e vengono riportati i principali risultati ottenuti. Lo studio degli aspetti geomorfologici ha giocato un ruolo importante nel progetto e i risultati sono presentati in due principali sezioni riguardanti una la natura dei suoli del bacino e l'altra i diversi modi della loro formazione. Il lavoro sul campo si è principalmente basato sulla ricognizione intensiva di una serie di transetti perpendicolari sul lato orientale del bacino montano di Rieti, estesa anche alle montagne circostanti. Nel corso di tre stagioni di lavoro, oltre 500 campi sono stati esaminati nell'ambito di un'area di circa 22 kmq., insieme con più ampie ricognizioni all'interno dell'intero bacino; tali ricognizioni sono state specificatamente finalizzate alla ricerca di dati che aiutassero a fornire risposte circa la problematica riguardante il mutare del quadro insediativo durante l'epoca medievale. Sono stati rinvenuti un totale di circa 200 siti di vario tipo ed epoca, sebbene si sia cercato di analizzare tali siti, durante le ricognizioni, nell'ambito dell'archeologiaoff-site. Le ricognizioni di particolari aree comprendenti un certo numero di siti con evidenti resti architettonici, sono state integrate con le evidenze portate alla superficie tramite l'aratura. Le ricognizioni miranti al rinvenimento di strutture sono risultate essere particolarmente positive, con l'individuazione di una serie di castelli e villaggi medievali, posizionati ad alte quote intorno al bacino. Durante tale progetto sono stati inoltre usati metodi geofisici di prospezione, compiendo ricognizione di resistività su larga scala per circa 20 siti: vengono qui riportati alcuni commenti preliminari sui risultati ottenuti grazie a questa tecnica. Il lavoro di tipo archeologico è stato accompagnato da una ricerca a carattere storico ed archivistico; l'articolo si conclude con una sintesi della storia insediamentale del bacino di Rieti per un periodo che va dall'età del bronzo all'età post-medievale.

L'INSEDIAMENTO RURALE NELLA SICILIA ROMANA ED ELLENISTICA: SCAVI A CAMPANAIO (AG), 1994–8Scavi all'insediamento rurale di Campanaio (3 ettari) hanno rivelato l'esistenza di sette principali fasi di occupazione dal c. 200 a.C. al periodo alto medievale. Un complesso di edifici ellenistici distribuiti in tre fasi successive è caratterizzato da muri a secco, pavimenti in battuto e sovrastrutture in mattoni di fango. Un contesto di scarico di rifiuti posto affianco agli edifici ha prodotto evidenza di contatti con la Cirenaica, la Grecia ed il nord Africa. Attività industriale risalente al 150 a.C. è attestata dalla presenza di una fornace da tegole e di cisterne, una delle quali provvista di un tubo di troppopieno composto di anfore puniche riutilizzate. Una più grande fornace da tegole fu aggiunta intorno al 125 a.C. Scarsa evidenza di occupazione alto imperiale è seguita da una rinnovata attività intorno al 375 d.C, la quale vide la costruzione di un emporio (con sedici anfore), un contenitore per la separazione dell'olio di oliva, una fornace da calce e altri nuovi edifici. In questa fase sono attestati la lavorazione del ferro, la possibile produzione di cuoio e la manifattura di tegole, mortaii e anfore Keay 52 (gli scarti vennero accumulati intorno al 400 d.C. nella fornace da calce andata in disuso). Una violenta distruzione intorno al 460 d.C. è possibile sia dovuta ad un attacco dei Vandali. L'esistenza di un insediamento arabo-normanno è suggerita da tre inumazioni poste sul fianco, che mostrano evidenza di malnutrizione, un tumore, mal di denti cronico, artrite e talassemia.

The curtain rose. The howling of desert wind filled the performance hall in the Shanghai Grand Theatre. Into the center stage, where a scenic construction of a mountain cliff and a desert landscape was dimly lit, entered the character of the Daoist priest Wang Yuanlu (1849–1931), performed by Chen Yizong. Dressed in a worn and dusty outfit of dark blue cotton, characteristic of Daoist priests, Wang began to sweep the floor. After a few moments, he discovered a hidden chambre sealed inside one of the rock sanctuaries carved into the cliff.Signaled by the quick, crystalline, stirring wave of sound from the chimes, a melodious Chinese ocarina solo joined in slowly from the background. Astonished by thousands of Buddhist sūtra scrolls, wall paintings, and sculptures he had just accidentally discovered in the caves, Priest Wang set his broom aside and began to examine these treasures. Dawn had not yet arrived, and the desert sky was pitch-black. Priest Wang held his oil lamp high, strode rhythmically in excitement, sat crossed-legged in a meditative pose, and unfolded a scroll. The sound of the ocarina became fuller and richer and the texture of the music more complex, as several other instruments joined in.Below is the opening scene of the award-winning, theatrical dance-drama Dunhuang, My Dreamland, created by China’s state-sponsored Lanzhou Song and Dance Theatre in 2000. Figure 1a: Poster Side A of Dunhuang, My Dreamland Figure 1b: Poster Side B of Dunhuang, My DreamlandThe scene locates the dance-drama in the rock sanctuaries that today are known as the Dunhuang Mogao Caves, housing Buddhist art accumulated over a period of a thousand years, one of the best well-known UNESCO heritages on the Silk Road. Historically a frontier metropolis, Dunhuang was a strategic site along the Silk Road in northwestern China, a crossroads of trade, and a locus for religious, cultural, and intellectual influences since the Han dynasty (206 B.C.E.–220 C.E.). Travellers, especially Buddhist monks from India and central Asia, passing through Dunhuang on their way to Chang’an (present day Xi’an), China’s ancient capital, would stop to meditate in the Mogao Caves and consult manuscripts in the monastery's library. At the same time, Chinese pilgrims would travel by foot from China through central Asia to Pakistan, India, Nepal, Bangladesh, and Sri Lanka, playing a key role in the exchanges between ancient China and the outside world. Travellers from China would stop to acquire provisions at Dunhuang before crossing the Gobi Desert to continue on their long journey abroad. Figure 2: Dunhuang Mogao CavesThis article approaches the idea of “abroad” by examining the present-day imagination of journeys along the Silk Road—specifically, staged performances of the various Silk Road journey-themed dance-dramas sponsored by the Chinese state for enhancing its cultural and foreign policies since the 1970s (Kuang).As ethnomusicologists have demonstrated, musicians, choreographers, and playwrights often utilise historical materials in their performances to construct connections between the past and the present (Bohlman; Herzfeld; Lam; Rees; Shelemay; Tuohy; Wade; Yung: Rawski; Watson). The ancient Silk Road, which linked the Mediterranean coast with central China and beyond, via oasis towns such as Samarkand, has long been associated with the concept of “journeying abroad.” Journeys to distant, foreign lands and encounters of unknown, mysterious cultures along the Silk Road have been documented in historical records, such as A Record of Buddhist Kingdoms (Faxian) and The Great Tang Records on the Western Regions (Xuanzang), and illustrated in classical literature, such as The Travels of Marco Polo (Polo) and the 16th century Chinese novel Journey to the West (Wu). These journeys—coming and going from multiple directions and to different destinations—have inspired contemporary staged performance for audiences around the globe.Home and Abroad: Dunhuang and the Silk RoadDunhuang, My Dreamland (2000), the contemporary dance-drama, staged the journey of a young pilgrim painter travelling from Chang’an to a land of the unfamiliar and beyond borders, in search for the arts that have inspired him. Figure 3: A scene from Dunhuang, My Dreamland showing the young pilgrim painter in the Gobi Desert on the ancient Silk RoadFar from his home, he ended his journey in Dunhuang, historically considered the northwestern periphery of China, well beyond Yangguan and Yumenguan, the bordering passes that separate China and foreign lands. Later scenes in Dunhuang, My Dreamland, portrayed through multiethnic music and dances, the dynamic interactions among merchants, cultural and religious envoys, warriors, and politicians that were making their own journey from abroad to China. The theatrical dance-drama presents a historically inspired, re-imagined vision of both “home” and “abroad” to its audiences as they watch the young painter travel along the Silk Road, across the Gobi Desert, arriving at his own ideal, artistic “homeland”, the Dunhuang Mogao Caves. Since his journey is ultimately a spiritual one, the conceptualisation of travelling “abroad” could also be perceived as “a journey home.”Staged more than four hundred times since it premiered in Beijing in April 2000, Dunhuang, My Dreamland is one of the top ten titles in China’s National Stage Project and one of the most successful theatrical dance-dramas ever produced in China. With revenue of more than thirty million renminbi (RMB), it ranks as the most profitable theatrical dance-drama ever produced in China, with a preproduction cost of six million RMB. The production team receives financial support from China’s Ministry of Culture for its “distinctive ethnic features,” and its “aim to promote traditional Chinese culture,” according to Xu Rong, an official in the Cultural Industry Department of the Ministry. Labeled an outstanding dance-drama of the Chinese nation, it aims to present domestic and international audiences with a vision of China as a historically multifaceted and cosmopolitan nation that has been in close contact with the outside world through the ancient Silk Road. Its production company has been on tour in selected cities throughout China and in countries abroad, including Austria, Spain, and France, literarily making the young pilgrim painter’s “journey along the Silk Road” a new journey abroad, off stage and in reality.Dunhuang, My Dreamland was not the first, nor is it the last, staged performances that portrays the Chinese re-imagination of “journeying abroad” along the ancient Silk Road. It was created as one of many versions of Dunhuang bihua yuewu, a genre of music, dance, and dramatic performances created in the early twentieth century and based primarily on artifacts excavated from the Mogao Caves (Kuang). “The Mogao Caves are the greatest repository of early Chinese art,” states Mimi Gates, who works to increase public awareness of the UNESCO site and raise funds toward its conservation. “Located on the Chinese end of the Silk Road, it also is the place where many cultures of the world intersected with one another, so you have Greek and Roman, Persian and Middle Eastern, Indian and Chinese cultures, all interacting. Given the nature of our world today, it is all very relevant” (Pollack). As an expressive art form, this genre has been thriving since the late 1970s contributing to the global imagination of China’s “Silk Road journeys abroad” long before Dunhuang, My Dreamland achieved its domestic and international fame. For instance, in 2004, The Thousand-Handed and Thousand-Eyed Avalokiteśvara—one of the most representative (and well-known) Dunhuang bihua yuewu programs—was staged as a part of the cultural program during the Paralympic Games in Athens, Greece. This performance, as well as other Dunhuang bihua yuewu dance programs was the perfect embodiment of a foreign religion that arrived in China from abroad and became Sinicized (Kuang). Figure 4: Mural from Dunhuang Mogao Cave No. 45A Brief History of Staging the Silk Road JourneysThe staging of the Silk Road journeys abroad began in the late 1970s. Historically, the Silk Road signifies a multiethnic, cosmopolitan frontier, which underwent incessant conflicts between Chinese sovereigns and nomadic peoples (as well as between other groups), but was strongly imbued with the customs and institutions of central China (Duan, Mair, Shi, Sima). In the twentieth century, when China was no longer an empire, but had become what the early 20th-century reformer Liang Qichao (1873–1929) called “a nation among nations,” the long history of the Silk Road and the colourful, legendary journeys abroad became instrumental in the formation of a modern Chinese nation of unified diversity rooted in an ancient cosmopolitan past. The staged Silk Road theme dance-dramas thus participate in this formation of the Chinese imagination of “nation” and “abroad,” as they aestheticise Chinese history and geography. History and geography—aspects commonly considered constituents of a nation as well as our conceptualisations of “abroad”—are “invariably aestheticized to a certain degree” (Bakhtin 208). Diverse historical and cultural elements from along the Silk Road come together in this performance genre, which can be considered the most representative of various possible stagings of the history and culture of the Silk Road journeys.In 1979, the Chinese state officials in Gansu Province commissioned the benchmark dance-drama Rain of Flowers along the Silk Road, a spectacular theatrical dance-drama praising the pure and noble friendship which existed between the peoples of China and other countries in the Tang dynasty (618-907 C.E.). While its plot also revolves around the Dunhuang Caves and the life of a painter, staged at one of the most critical turning points in modern Chinese history, the work as a whole aims to present the state’s intention of re-establishing diplomatic ties with the outside world after the Cultural Revolution. Unlike Dunhuang, My Dreamland, it presents a nation’s journey abroad and home. To accomplish this goal, Rain of Flowers along the Silk Road introduces the fictional character Yunus, a wealthy Persian merchant who provides the audiences a vision of the historical figure of Peroz III, the last Sassanian prince, who after the Arab conquest of Iran in 651 C.E., found refuge in China. By incorporating scenes of ethnic and folk dances, the drama then stages the journey of painter Zhang’s daughter Yingniang to Persia (present-day Iran) and later, Yunus’s journey abroad to the Tang dynasty imperial court as the Persian Empire’s envoy.Rain of Flowers along the Silk Road, since its debut at Beijing’s Great Hall of the People on the first of October 1979 and shortly after at the Theatre La Scala in Milan, has been staged in more than twenty countries and districts, including France, Italy, Japan, Thailand, Russia, Latvia, Hong Kong, Macao, Taiwan, and recently, in 2013, at the Lincoln Center for the Performing Arts in New York.“The Road”: Staging the Journey TodayWithin the contemporary context of global interdependencies, performing arts have been used as strategic devices for social mobilisation and as a means to represent and perform modern national histories and foreign policies (Davis, Rees, Tian, Tuohy, Wong, David Y. H. Wu). The Silk Road has been chosen as the basis for these state-sponsored, extravagantly produced, and internationally staged contemporary dance programs. In 2008, the welcoming ceremony and artistic presentation at the Olympic Games in Beijing featured twenty apsara dancers and a Dunhuang bihua yuewu dancer with long ribbons, whose body was suspended in mid-air on a rectangular LED extension held by hundreds of performers; on the giant LED screen was a depiction of the ancient Silk Road.In March 2013, Chinese president Xi Jinping introduced the initiatives “Silk Road Economic Belt” and “21st Century Maritime Silk Road” during his journeys abroad in Kazakhstan and Indonesia. These initiatives are now referred to as “One Belt, One Road.” The State Council lists in details the policies and implementation plans for this initiative on its official web page, www.gov.cn. In April 2013, the China Institute in New York launched a yearlong celebration, starting with "Dunhuang: Buddhist Art and the Gateway of the Silk Road" with a re-creation of one of the caves and a selection of artifacts from the site. In March 2015, the National Development and Reform Commission (NDRC), China’s top economic planning agency, released a new action plan outlining key details of the “One Belt, One Road” initiative. Xi Jinping has made the program a centrepiece of both his foreign and domestic economic policies. One of the central economic strategies is to promote cultural industry that could enhance trades along the Silk Road.Encouraged by the “One Belt, One Road” policies, in March 2016, The Silk Princess premiered in Xi’an and was staged at the National Centre for the Performing Arts in Beijing the following July. While Dunhuang, My Dreamland and Rain of Flowers along the Silk Road were inspired by the Buddhist art found in Dunhuang, The Silk Princess, based on a story about a princess bringing silk and silkworm-breeding skills to the western regions of China in the Tang Dynasty (618-907) has a different historical origin. The princess's story was portrayed in a woodblock from the Tang Dynasty discovered by Sir Marc Aurel Stein, a British archaeologist during his expedition to Xinjiang (now Xinjiang Uygur autonomous region) in the early 19th century, and in a temple mural discovered during a 2002 Chinese-Japanese expedition in the Dandanwulike region. Figure 5: Poster of The Silk PrincessIn January 2016, the Shannxi Provincial Song and Dance Troupe staged The Silk Road, a new theatrical dance-drama. Unlike Dunhuang, My Dreamland, the newly staged dance-drama “centers around the ‘road’ and the deepening relationship merchants and travellers developed with it as they traveled along its course,” said Director Yang Wei during an interview with the author. According to her, the show uses seven archetypes—a traveler, a guard, a messenger, and so on—to present the stories that took place along this historic route. Unbounded by specific space or time, each of these archetypes embodies the foreign-travel experience of a different group of individuals, in a manner that may well be related to the social actors of globalised culture and of transnationalism today. Figure 6: Poster of The Silk RoadConclusionAs seen in Rain of Flowers along the Silk Road and Dunhuang, My Dreamland, staging the processes of Silk Road journeys has become a way of connecting the Chinese imagination of “home” with the Chinese imagination of “abroad.” Staging a nation’s heritage abroad on contemporary stages invites a new imagination of homeland, borders, and transnationalism. Once aestheticised through staged performances, such as that of the Dunhuang bihua yuewu, the historical and topological landscape of Dunhuang becomes a performed narrative, embodying the national heritage.The staging of Silk Road journeys continues, and is being developed into various forms, from theatrical dance-drama to digital exhibitions such as the Smithsonian’s Pure Land: Inside the Mogao Grottes at Dunhuang (Stromberg) and the Getty’s Cave Temples of Dunhuang: Buddhist Art on China's Silk Road (Sivak and Hood). They are sociocultural phenomena that emerge through interactions and negotiations among multiple actors and institutions to envision and enact a Chinese imagination of “journeying abroad” from and to the country.ReferencesBakhtin, M.M. The Dialogic Imagination: Four Essays. Austin, Texas: University of Texas Press, 1982.Bohlman, Philip V. “World Music at the ‘End of History’.” Ethnomusicology 46 (2002): 1–32.Davis, Sara L.M. Song and Silence: Ethnic Revival on China’s Southwest Borders. New York: Columbia University Press, 2005.Duan, Wenjie. “The History of Conservation of Mogao Grottoes.” International Symposium on the Conservation and Restoration of Cultural Property: The Conservation of Dunhuang Mogao Grottoes and the Related Studies. Eds. Kuchitsu and Nobuaki. Tokyo: Tokyo National Research Institute of Cultural Properties, 1997. 1–8.Faxian. A Record of Buddhistic Kingdoms. Translated by James Legge. New York: Dover Publications, 1991.Herzfeld, Michael. Ours Once More: Folklore, Ideology, and the Making of Modern Greece. Austin: University of Texas Press, 1985.Kuang, Lanlan. Dunhuang bi hua yue wu: "Zhongguo jing guan" zai guo ji yu jing zhong de jian gou, chuan bo yu yi yi (Dunhuang Performing Arts: The Construction and Transmission of “China-scape” in the Global Context). Beijing: She hui ke xue wen xian chu ban she, 2016.Lam, Joseph S.C. State Sacrifice and Music in Ming China: Orthodoxy, Creativity and Expressiveness. New York: State University of New York Press, 1998.Mair, Victor. T’ang Transformation Texts: A Study of the Buddhist Contribution to the Rise of Vernacular Fiction and Drama in China. Cambridge, Mass.: Council on East Asian Studies, 1989.Pollack, Barbara. “China’s Desert Treasure.” ARTnews, December 2013. Sep. 2016 <http://www.artnews.com/2013/12/24/chinas-desert-treasure/>.Polo, Marco. The Travels of Marco Polo. Translated by Ronald Latham. Penguin Classics, 1958.Rees, Helen. Echoes of History: Naxi Music in Modern China. Oxford: Oxford University Press, 2000.Shelemay, Kay Kaufman. “‘Historical Ethnomusicology’: Reconstructing Falasha Liturgical History.” Ethnomusicology 24 (1980): 233–258.Shi, Weixiang. Dunhuang lishi yu mogaoku yishu yanjiu (Dunhuang History and Research on Mogao Grotto Art). Lanzhou: Gansu jiaoyu chubanshe, 2002.Sima, Guang 司马光 (1019–1086) et al., comps. Zizhi tongjian 资治通鉴 (Comprehensive Mirror for the Aid of Government). Beijing: Guji chubanshe, 1957.Sima, Qian 司马迁 (145-86? B.C.E.) et al., comps. Shiji: Dayuan liezhuan 史记: 大宛列传 (Record of the Grand Historian: The Collective Biographies of Dayuan). Beijing: Zhonghua shuju, 1959.Sivak, Alexandria and Amy Hood. “The Getty to Present: Cave Temples of Dunhuang: Buddhist Art on China’s Silk Road Organised in Collaboration with the Dunhuang Academy and the Dunhuang Foundation.” Getty Press Release. Sep. 2016 <http://news.getty.edu/press-materials/press-releases/cave-temples-dunhuang-buddhist-art-chinas-silk-road>.Stromberg, Joseph. “Video: Take a Virtual 3D Journey to Visit China's Caves of the Thousand Buddhas.” Smithsonian, December 2012. Sep. 2016 <http://www.smithsonianmag.com/smithsonian-institution/video-take-a-virtual-3d-journey-to-visit-chinas-caves-of-the-thousand-buddhas-150897910/?no-ist>.Tian, Qing. “Recent Trends in Buddhist Music Research in China.” British Journal of Ethnomusicology 3 (1994): 63–72.Tuohy, Sue M.C. “Imagining the Chinese Tradition: The Case of Hua’er Songs, Festivals, and Scholarship.” Ph.D. Dissertation. Indiana University, Bloomington, 1988.Wade, Bonnie C. Imaging Sound: An Ethnomusicological Study of Music, Art, and Culture in Mughal India. Chicago: University of Chicago Press, 1998.Wong, Isabel K.F. “From Reaction to Synthesis: Chinese Musicology in the Twentieth Century.” Comparative Musicology and Anthropology of Music: Essays on the History of Ethnomusicology. Eds. Bruno Nettl and Philip V. Bohlman. Chicago: University of Chicago Press, 1991. 37–55.Wu, Chengen. Journey to the West. Tranlsated by W.J.F. Jenner. Beijing: Foreign Languages Press, 2003.Wu, David Y.H. “Chinese National Dance and the Discourse of Nationalization in Chinese Anthropology.” The Making of Anthropology in East and Southeast Asia. Eds. Shinji Yamashita, Joseph Bosco, and J.S. Eades. New York: Berghahn, 2004. 198–207.Xuanzang. The Great Tang Dynasty Record of the Western Regions. Hamburg: Numata Center for Buddhist Translation & Research, 1997.Yung, Bell, Evelyn S. Rawski, and Rubie S. Watson, eds. Harmony and Counterpoint: Ritual Music in Chinese Context. Stanford: Stanford University Press, 1996.

Abstract note: According to several ancient writers, a statue of the Phrygian goddess Cybele, often known as the Great Mother, arrived in Rome in 204 b.c.e., inaugurating her worship in that city. ovid Fasti 4.247–3481st century b.c.e. or 1st century c.e. author, translation, and text: See entry 11. bibliography: Mary Beard, “The Roman and the Foreign: The Cult of the ‘Great Mother’ in Imperial Rome,” in Nicholas Thomas and Caroline Humphrey, eds., Shamanism, History, and the State (Ann Arbor: University of Michigan Press, 1994), 164–90; Eugene N. Lane, ed., Cybele, Attis, and Related Cults: Essays in Memory of M. J. Vermaseren (Leiden: E. J. Brill, 1996); Ariadne Staples, From Good Goddess to Vestal Virgins: Sex and Category in Roman Religion (London and New York: Routledge, 1998).

Abstract author: Born in Galatia in ca. 363, Palladius took up the monastic life in his midtwenties but modified his ascetic rigor because of poor health. His Lausiac History was dedicated to Lausus, chamberlain in the court of Theodosius II. Originally written in Greek in 419–20 and subsequently translated into Latin, it represents a major source for early monasticism in Egypt, Palestine, Syria, and Asia Minor. Though the bulk of the work describes male monastics and their communities, the work also contains important references to early women’s monasteries and anecdotes about female ascetics. translation: A. Veilleux, Pachomian Koinonia, vol. 2, Pachomian Chronicles and Rules, Cistercian Studies 45 (Kalamazoo, Mich.: Cistercian Pubs., 1981). text: PG 34, 991–1262; CTS 6 (C. Butler, 1904); CSCO (R. Draguet, 1978, 389–90, 398–99). Draguet also provides corrections to Butler’s text in various articles, for which see M. Geerard, Clavis Patrum Graecorum 3:169. additional translation: W. K. L. Clarke, The Lausiac History of Palladius (London: SPCK, 1918).

At the end of the introduction to my book Roman Palestine, 200-400, the Land: Crisis and Change in Agrarian Society as Reflected in Rabbinic Sources (1978), I wrote: “Finally, developments in the rural community cannot be divorced from those of the urban community. The two communities are mutually interdependent, their interactions significant for each as for both. This I hope will be shown in a future volume dealing with the conditions of urban life during the same centuries”. Some fifteen years have passed, and I have still not fulfilled that hope. This volume only satisfies my promise of a supplementary volume in a partial manner. Whereas the two former volumes, Roman Palestine, 200-400, Money and Prices (1974; 2nd edition, 1991) and the volume quoted above, presented a socioeconomic historical thesis, the present volume does not. Hence its chronological parameters have been broadened to encompass much of the Tannaitic period, and it covers a period of some three hundred years, from ca. 100 to 400 C.E. Unlike the present-day studies of ancient urban history, it does not deal with a specific city—for example, Tiberias, Sepphoris, Caesarea, or Lod—and is thus unlike the excellent studies of Lee I. Levine on Caesarea, Joshua J. Schwartz on Lod, Stuart S. Miller on Sepphoris, Gustav Hermansen on Ostia, and more recently, Donald W. Engels on Roman Corinth. My book synthesizes what is known of urban life in Talmudic Palestine and hence deals with a theoretical, nonexistent, “synthetic” city.” The reader will readily see that I have been greatly influenced by Jerome Carcopino’s seminal work on everyday life in Roman times, the classic Daily Life in Ancient Rome, which to a great extent set the tone for this genre of writing. However, he was writing about a specific town. In a sense, my narrative is closer in character to A. H. M. Jones’s paradigmatic The Greek City from Alexander to Justinian. I have also been somewhat influenced by W. A. Becker’s Gallus, or Roman Scenes of the Time of Augustus, although from a literary point of view, his work is closer to historical fiction.