Since the summer of 2009, the ancient site of Gabii has been the focus of excavations conducted by the University of Michigan. Stratigraphic investigations near the urban core are revealing the complex sequence of occupation in this Latin city, which emerged in the Early Iron Age. The spatial distribution of intramural burials of the Orientalizing…[Read more]

The city of Gabii was one of the main centers of ancient Latium, yet very little of the settlement is known through archaeology. The site has been the focus of only sporadic exploration, and the available evidence for the urban history and development of the city is extremely fragmentary. New fieldwork has investigated the urban area with…[Read more]

The city of Gabii was one of the main centers of ancient Latium, yet very little of the settlement is known through archaeology. The site has been the focus of only sporadic exploration, and the available evidence for the urban history and development of the city is extremely fragmentary. New fieldwork has investigated the urban area with…[Read more]

In recent decades data provided by funerary archaeology has revolutionized our understanding of the proto-urban landscapes of Latium in the early Iron Age. The data that provide a compelling argument for the emergence of fixed systems of social hierarchy contribute greatly to the study of the first wave of urbanism that transformed the Italian…[Read more]

Book review of Ancient Samnium. Settlement, Culture, and Identity between History and Archaeology
By Rafael Scopacasa. Pp. xvi + 352, figs. b&w 22, tables 12. Oxford University Press, Oxford 2015. £75, $125. ISBN-13: 978-0-19-871376-0.

Book review of Ancient Samnium. Settlement, Culture, and Identity between History and Archaeology
By Rafael Scopacasa. Pp. xvi + 352, figs. b&w 22, tables 12. Oxford University Press, Oxford 2015. £75, $125. ISBN-13: 978-0-19-871376-0.

Book review of Borg ( B.) Crisis and Ambition. Tombs and Burial Customs in Third-Century CE Rome. Pp. xx + 308, ills, maps, colour pls. Oxford: Oxford University Press, 2013. Cased, £105, US$185. ISBN: 978-0-19-967273-8.

Review of Regter W., Imitation and Creation: Development of Early Bucchero Design at Cerveteri in the Seventh Century B.C. (Allard Pierson Series 15). Amsterdam: Allard Pierson Museum, 2003. Pp. 312, illus. ISBN 90-71211-36-3. €137.50.

This extended review highlights an increasingly important aspect of the contemporary performance reception of the Odyssey in the UK, with growing numbers of practitioners and companies moving away from the straightforward dramatisation (or revisionist dramatic contestation) of Homer’s epic tale, and towards a deepening engagement with epic s…[Read more]

This extended review highlights an increasingly important aspect of the contemporary performance reception of the Odyssey in the UK, with growing numbers of practitioners and companies moving away from the straightforward dramatisation (or revisionist dramatic contestation) of Homer’s epic tale, and towards a deepening engagement with epic s…[Read more]

Our lack of reliable information concerning the physical and choreographic aspects of ancient tragic performance permits modern writers to construct their own imaginative re-creations of the ancient text/body relationship in a wide variety of modes. The range of ways in which texts translated or adapted from ancient tragedy are capable of…[Read more]

Our lack of reliable information concerning the physical and choreographic aspects of ancient tragic performance permits modern writers to construct their own imaginative re-creations of the ancient text/body relationship in a wide variety of modes. The range of ways in which texts translated or adapted from ancient tragedy are capable of…[Read more]

The translation of ancient tragedy is often considered at a linguistic level, as if the drama consisted simply of words being written, spoken and heard. This article contends that translation for the stage is a process in which literary decisions have physical, as well as verbal, outcomes. It traces existing formulations concerning the links…[Read more]

The translation of ancient tragedy is often considered at a linguistic level, as if the drama consisted simply of words being written, spoken and heard. This article contends that translation for the stage is a process in which literary decisions have physical, as well as verbal, outcomes. It traces existing formulations concerning the links…[Read more]

Alice Oswald’s recitation of her 2011 poem Memorial is an intensely modest, self-effacing performance. Yet it is also one which invites us to consider key questions about the ancient practice, and modern re-performance, of epic poetry. Oswald explicitly cites the antiphonal lament of Homeric funerary ritual as an influence upon her r…[Read more]

Alice Oswald’s recitation of her 2011 poem Memorial is an intensely modest, self-effacing performance. Yet it is also one which invites us to consider key questions about the ancient practice, and modern re-performance, of epic poetry. Oswald explicitly cites the antiphonal lament of Homeric funerary ritual as an influence upon her r…[Read more]

Ted Hughes’ version of Euripides’ Alcestis (1999) is a play which diverges significantly from its ancient source-text, most notably in an interpolated sequence during which the drunken Heracles re-enacts his own labours, before experiencing traumatic visions. This article identifies this un-Euripidean interlude as a characteristic instance of int…[Read more]

Ted Hughes’ version of Euripides’ Alcestis (1999) is a play which diverges significantly from its ancient source-text, most notably in an interpolated sequence during which the drunken Heracles re-enacts his own labours, before experiencing traumatic visions. This article identifies this un-Euripidean interlude as a characteristic instance of int…[Read more]

This review-essay discusses George Brant’s play Grounded (2013) in the context of its production at the Gate Theatre (London). It begins with a critical examination of my own “mis-seeing” of the play’s protagonist as a version of the tragic Heracles. The analysis which follows compares key aspects of The Pilot’s narrative with Euripides’ Heracles…[Read more]

This review-essay discusses George Brant’s play Grounded (2013) in the context of its production at the Gate Theatre (London). It begins with a critical examination of my own “mis-seeing” of the play’s protagonist as a version of the tragic Heracles. The analysis which follows compares key aspects of The Pilot’s narrative with Euripides’ Heracles…[Read more]