ABSTRACT This article uses Pierre Bourdieu’s model of capital to examine the social contexts of women’s legal petitions that invoke episodes of violence in late antique Egypt. Challenging notions of victimhood and that women’s agency must always be seen within a paradigm of challenging gendered hierarchies, it argues that high(er) status women used their capital to negotiate patriarchal systems, rather than try to subvert them. It therefore offers a more nuanced understanding of women's agency in late antiquity and the intersectional nature of power.

ABSTRACT This paper examines the rhetorical functions of references to corona or people surrounding the courtroom in Attic forensic speeches. It analyses the strategies deployed to characterize these spectators, classifying them into four categories: (A) witnesses of past events or the current trial, (B) individuals who are easily influenced by the outcome of a trial, (C) ‘judges’ of the jurors, and (D) supporters of either side of the contending parties. Category A often serves to enhance the speaker’s credibility. Category B is used to remind the jurors of the broader implications of their verdict. Category C frequently encourages the jurors to consider the shame they may face if they vote against the public interest. Category D is employed for character assassination of the opponent. Orators strategically used these rhetorical tactics, especially during high-profile trials. While Category D did not always appear to benefit the litigants, Categories B and C seemed to be comparatively more favourable for the plaintiffs.

ABSTRACT In numerous letters to his brother and wife, the Maréchal Armand Jacques Leroy de Saint-Arnaud (1798–1854) describes his military campaigns in Algeria as reincarnations of the Roman wars in Numidia. Saint-Arnaud's Roman/Numidian dichotomy raises additional questions. What role did such ethnological fictions play in the actual military conquest of French Algeria? To what extent can we trace the numerous instances of genocide that Saint-Arnaud recounts in his letters to these classical receptions? Furthermore, can we deem the French invasions, with all of their settler-colonial practices and associated violence, a historical phenomenon whose ideological underpinnings were neoclassical in essence? In seeking to answer these questions in the affirmative, I situate the letters of Saint-Arnaud in their larger cultural historical milieu. I bring them into dialogue with the accounts of other French military writers. In so doing, I illustrate how the French conquest of the Maghreb, framed as a rediscovery of the Roman campaigns of old against an unchanged Numidian foe, enabled genocidal acts to be justified through classical ideals and a civilizing model exemplified in Greco-Roman literature.

ABSTRACT The Greek chorus is a group of dancers who move and often sing together. Ancient and modern commentators, while acknowledging a capacity for fragmentation, usually emphasize the group’s essential unity; an ideal chorus is a ‘well-fitted’ and harmonious integration of voices and bodies. But how are we to imagine the ‘mind’ of the chorus? Is it singular, or plural? This article will suggest that what philosophers call the Group Mind Thesis (GMT), and related narratological models, may help us to understand the complexities of choral consciousness. The GMT holds that there are collective minds that comprise multiple singular minds; these collective minds are fully equipped with psychological states, processes, and capacities. The lyric chorus, as represented in Homer and on early Greek painted pots, operates on multiple levels, often within the same composition. Focusing on Alcman’s first partheneion (PMGF 1), I show how the chorus acts, thinks, and narrates sometimes as a unit, sometimes as a combination of semichoruses, and sometimes as a collection of individuals in relation to a leader. Such alternative configurations and their attendant tensions are not limited to Alcman; in a final section, I explore how a multi-level group mind might be used to understand the development of dithyramb, and, eventually, drama.

Abstract The so-called Kitāb Hurūšiyūš is an Arabic translation and reworking of the famous Historiae adversus paganos by the Latin historian Paulus Orosius, and this was the product of Christian and Muslim authors working together at the court of the Andalusian caliph al-Ḥakam II al-Mustanṣir. This book acted as a new gateway into the Graeco-Roman world for medieval Islamic culture, and its influence on Islamic historical knowledge was very strong and it was used and quoted by several important Arabic historians and geographers.

ABSTRACT During the years of Italy's empire in Africa, the Punic Wars were a frequent point of reference in imperial propaganda. However, since Carthage was viewed as a city foreign to Africa, Italian ideologues of empire required an ancient enemy of Rome that was indigenous to Africa to serve as a classical counterpart for African resistance to modern Italian imperialism. This is where the Jugurthine War came in. This essay looks at two key moments of Italian receptions of the Jugurthine War: one in a Latin poem from towards the beginning of Italy's imperial endeavours in Africa and another from when the Italian Empire was at its height, under Fascism. The essay ends by considering how a Latin author who was half-Numidian—Apuleius—was used as a model of acculturation to offset the idea that Numidia and Numidians were always the enemies of Rome.

ABSTRACT This review considers the tensions and oppositions in the foregoing discussions of Hellenistic literature, music, art, and philosophy. Commonly accepted notions of Hellenistic aesthetics, especially the emphasis on refinement associated with Callimachus, are challenged by celebrations of grandeur and even dissonance. By focusing on three key pairs of aesthetic opposites (‘large versus small’, ‘sight versus hearing’, and ‘harmony versus discord’), a more nuanced version of Hellenistic aesthetics emerges, embodied in the notion of technē.

ABSTRACT The influence of the Greek scholars Philodemus and Parthenius on their contemporary Vergil remains understudied. Close examination of selected passages from the Aeneid demonstrates the poet’s reception of Philodemus’ theory of poetry and of Parthenius’ collection of mythological summaries, the Erotica Pathemata. Investigating the intertextual connections between Philodemus, Parthenius, and Vergil offers a chance to explore how an Augustan poet made use of the writings of two of his teachers and main influences, and an opportunity to examine the question of late Hellenistic aesthetics through the prism of its earliest reception.

Abstract This article explores the scope and significance of the Stoic commitment to the view that mousikē is morally beneficial. The idea that mousikē can have such a purpose, which I call aesthetic functionalism, is not uniquely Stoic, but I argue that the Stoics do have a distinctive formulation of this view. It is a weak kind of functionalism that approaches mousikē not as a cause but as an instrument of moral improvement, wielded by a willing agent who is the actual cause. The article begins with a discussion of the evidence for the Stoic views. Then, by employing the Epicurean attack on all functionalists as a foil, it spells out the commitments of the Stoic stance in particular. The discussion has two parts: a theoretical and a practical one. The former determines the extent to which the soul could be affected by music (given Stoic materialism), while the latter explores how the extant evidence presents the Stoics’ lifelong engagement with mousikē, with different benefits at different stages of life.

The fact is that for most people, and especially for women and children, the family is the most violent group to which they are likely to belong.(Dobash and Dobash 1979: 7) This volume arises from a project born in part of statistics, or rather of the reality those statistics reveal.Globally, one in every three women in the twenty-first century will experience physical and/or sexual violence during her lifetime. 1Each year, over 1,500 deaths in the USA are attributable to domestic violence. 2The Office for National Statistics in the United Kingdom reported that 1.4 million women and 751,000 men over the age of 16 years experienced domestic abuse in the year ending March 2023. 3In Australia (the context within which many of the contributors to this volume live and work) on average one woman is killed every week by a current or former intimate partner. 4 For many contemporary Australian victims, domestic violence began or increased during the COVID-19 pandemic when a combination of increased emotional and financial stress and lockdowns created or intensified abusive situations. 5 The contexts within which we live and work are contexts in which domestic violence has reached pandemic status. 6his fact is an important one for us all to recognize, as researchers, colleagues, teachers, and students.Our classrooms are radical spaces of possibility, and the interactions that take place have