Podcasts about classical world

This episode originally aired in June 2023. Liv speaks with PhD student Yentl Love about queerness in the ancient world and Greek mythology, about classical reception in Lil Nas X, and so much more. Follow Yentl (the Queer Classicist) on Twitter, and learn more on her site. Help keep LTAMB going by subscribing to Liv's Patreon for bonus content! CW/TW: far too many Greek myths involve assault. Given it's fiction, and typically involves gods and/or monsters, I'm not as deferential as I would be were I referencing the real thing. Attributions and licensing information for music used in the podcast can be found here: mythsbaby.com/sources-attributions.See omnystudio.com/listener for privacy information.

At what point did the concept of civilization and civilizations emerge? In what ways  do we know that societies were mingling and exchanging ideas and objects with each other? How were the Crusades responsible for our culture's current sugar obsession?Josephine Quinn is a Professor of Ancient History at the University of Oxford, and the author of several books, including her latest work How the World Made the West: A 4,000 Year History and also In Search of the Phoenicians.Greg and Josephine discuss the challenges and insights from piecing together 4,000 years of global history, and digging into the concept of 'civilizational thinking' and its origins. Josephine explains how civilizations intertwine through war, trade, and cultural exchange, and also highlights how modern perspectives shape our understanding of past human interactions. They also discuss the subject of another of Josephine's books and unpack the significant yet often misunderstood impact of Phoenicians and other early civilizations on today's world.*unSILOed Podcast is produced by University FM.*Show Links:Recommended Resources:PhoeniciaAge of DiscoveryCrusadesLevantHerodotusOttoman EmpireMinoan civilizationArthur EvansKnossosHeinrich SchliemannBarlaam and JosaphatAbbasid CaliphateThe Invention of TraditionZoroastrianismFernand BraudelGuest Profile:Faculty Profile at the University of OxfordWikipedia ProfileSocial Profile on InstagramHer Work:Amazon Author PageHow the World Made the West: A 4,000 Year HistoryIn Search of the PhoeniciansThe Punic Mediterranean: Identities and Identification from Phoenician Settlement to Roman RuleThe Hellenistic West: Rethinking the Ancient MediterraneanThe Rise and Fall of the Classical World: 2500 BC - 600 ADEpisode Quotes:Tracing the roots of civilizational thinking 10:52: One of the things I really want people to take away from my book is that war is one of the most effective modes of communication that people have. But all the same, depended on fundamental notion of similarity between peoples. [11:36] But around 1500, what's happening with this European expansion is to me, a very radical change in that, at the same time as Europeans are engaging in mass conversions to Christianity overseas, they're expelling the significant Jewish and Muslim populations from Europe itself. And so, it's creating a, sort of, us and them situation. Basically for the first time, a significant scale, I mean, things like that happen on a smaller scale and throughout history in all societies but I think this is really, in terms of a global history, something really quite new. And so, to me, it is the roots of that civilizational thinking that gets fully articulated a few hundred years later, starting in the 18th century. The idea of continents is fictional and is used by other geographers to create divisions in their works. 17:01: The idea of continents is a fascinating one to me. It goes back, in fact, to ancient Greek-speaking scientists who are working on the coast of what's now Turkey, very much in touch with what was going on in the big intellectual centers of antiquity, like Babylon, with Egyptian scientists, and so on. But we don't have any evidence that anybody else thought about the world in terms of continents. But they invented it with some geographers, and it was a kind of label. It wasn't a sort of major concept. One of my favorite commentaries is by another Greek historian, Herodotus. I say Greek-speaking. He also was from Anatolia, grew up in Persian lands, but he says, Well, people say that there are these three continents, and they're all named after women: Europa, Asia, Libya, [the] Greek term for what we now say—Africa, but I think this is nonsense. I mean, people don't even know where they begin and end. And, of course, that's right. I mean, some continents exist. The America exists. Australia exists. But Europe, Asia, and Africa?Why do people care about the heterogeneity of origins of things in the modern world?43:05 This is the big question, isn't it? Do people have an investment in the idea of a pure West that is facing pollution or even replacement from the outside right now? I think it's the same kind of question. And I think part of it is just that that's an easier way to think. It offers certainty. I think certainty is a terribly attractive thing but the problem is that human history isn't certain. It's fuzzy and complicated and if there's one thing that I would love people who read this book to think harder about, it's the idea of heritage. I think heritage is often seen as a very positive thing in the world today. But actually, I feel like there's a danger that people invest in a collective past at the expense of a collective present. And that, I think, is quite dangerous. But it is much easier to read things than it is to have conversations.The idea of the Minoan and Mycenaean civilizations as two separate cultures is a historical typo.The whole idea of Minoan and Mycenaean are basically just two rival labels of two basically warring groups of archaeologists about exactly the same thing. It's like a historical typo that people now think of them as different.

In this episode, host Ellie Woodacre interviews Stephanie McCarter about her new book Women in Power: Classical Myths and Stories from the Amazons to Cleopatra (Penguin Books, 2024). As we discuss in the episode, this work brings together excerpts from Classical texts which discuss the life and rule of a variety of women, from mythical figures like the Amazons, to a range of ruling queens including well known figures like Zenobia, Boudicca and Cleopatra to those who aren't often discussed, like Salome Alexandra or Amanirenas. Guest Bio:Stephanie McCarter is professor of Classics at the University of the South in Sewanee, where she has taught since 2008. Her teaching and research interests include Latin poetry, translation theory and practice, gender and sexuality in classical antiquity, feminist reception of the classics, and Greek and Roman philosophy and ethics. McCarter's books include Horace between Freedom and Slavery (University of Wisconsin Press, 2015) as well as two works of translation, Horace's Epodes, Odes, and Carmen Saeculare (University of Oklahoma Press, 2020) and Ovid's Metamorphoses (Penguin Classics, 2022), which won the 2023 Harold Morton Landon Translation Award from the Academy of American Poets. She has penned numerous academic articles in journals such as Classical Journal, Eugesta, and American Journal of Philology, as well as essays, translations, reviews, and interviews in The Washington Post, The Sewanee Review, Literary Hub, Electric Literature, Lapham's Quarterly, Hyperallergic, The Brooklyn Rail, and elsewhere. 

PREVIEW: MARS: Conversation with historian Matthew Shindell, "For the Love of Mars: A Human History of the Red Planet," re how Dante's Divine Comedy presents a completely different planet than the classical world. More tonight. 2023 Mt. Sharp from POV Curiosity

PREVIEW: CLASSICAL WORLD: HELEN TO AGRIPPINA THE YOUNGER: Conversation with classicist and author Daisy Dunn on her new book, "THE MISSING THREAD: A Women's History of the Ancient World," ranging from the Minoans and Trojans of the Late Bronze Age to the Romans of the Iron Age. The book emphasizes wives, mothers, daughters and their choice metaphors of weaving and spinning the fate of heroes. More in the coming weeks. https://www.amazon.com/Missing-Thread-Womens-History-Ancient/dp/0593299663 1873 Women of Pompeii

Fascinating divergence of views of this tragic procedure. Thank you for listening!

Natalie Haynes is an author, stand-up comedian and self-confessed nerd. As a teenager she embraced Latin and Ancient Greek, before going on to study classics under the famed Professor Mary Beard. 

Mike Mills sold over 60 million albums as bassist and songwriter with R.E.M., which emerged from the college-rock scene of the 1980's to become one of the world's most successful bands. Now he's blending genres with his concerto for orchestra and rock band. Mills and violinist Robert McDuffie will perform it Friday with the St. Louis Symphony Orchestra, in a program that also includes orchestral interpretations of R.E.M. songs.

Several decades of scholarship have demonstrated that Roman thinkers developed in new and stimulating directions the systems of thought they inherited from the Greeks, and that, taken together, they offer many perspectives that are of philosophical interest in their own right. The Oxford Handbook of Roman Philosophy explores a range of such Roman philosophical perspectives through thirty-four newly commissioned essays. Where Roman philosophy has long been considered a mere extension of Hellenistic systems of thought, this volume moves beyond the search for sources and parallels and situates Roman philosophy in its distinctive cultural context. The Oxford Handbook of Roman Philosophy (Oxford UP,  2023) emphasizes four features of Roman philosophy: aspects of translation, social context, philosophical import, and literary style. The authors adopt an inclusive approach, treating not just systematic thinkers such as Cicero and Augustine, but also poets and historians. Topics covered include ethnicity, cultural identity, literary originality, the environment, Roman philosophical figures, epistemology, and ethics. Myrto Garani is Associate Professor of Latin Literature at the National and Kapodistrian University of Athens, Greece. She is the author of Empedocles Redivivus, co-editor with David Konstan of The Philosophizing Muse, and co-editor with A. N. Michalopoulos and S. Papaioannou of Intertextuality in Seneca's Philosophical Writings. David Konstan is Professor of Classics at New York University. He is the author of Friendship in the Classical World, Beauty, In the Orbit of Love, and The Origin of Sin. Gretchen Reydams-Schils is Professor in the Program of Liberal Studies at the University of Notre Dame and holds concurrent appointments in Classics, Philosophy, and Theology. She is the author of The Roman Stoics and Calcidius on Plato's Timaeus. Morteza Hajizadeh is a Ph.D. graduate in English from the University of Auckland in New Zealand. His research interests are Cultural Studies; Critical Theory; Environmental History; Medieval (Intellectual) History; Gothic Studies; 18th and 19th Century British Literature. YouTube channel. Twitter. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

Several decades of scholarship have demonstrated that Roman thinkers developed in new and stimulating directions the systems of thought they inherited from the Greeks, and that, taken together, they offer many perspectives that are of philosophical interest in their own right. The Oxford Handbook of Roman Philosophy explores a range of such Roman philosophical perspectives through thirty-four newly commissioned essays. Where Roman philosophy has long been considered a mere extension of Hellenistic systems of thought, this volume moves beyond the search for sources and parallels and situates Roman philosophy in its distinctive cultural context. The Oxford Handbook of Roman Philosophy (Oxford UP,  2023) emphasizes four features of Roman philosophy: aspects of translation, social context, philosophical import, and literary style. The authors adopt an inclusive approach, treating not just systematic thinkers such as Cicero and Augustine, but also poets and historians. Topics covered include ethnicity, cultural identity, literary originality, the environment, Roman philosophical figures, epistemology, and ethics. Myrto Garani is Associate Professor of Latin Literature at the National and Kapodistrian University of Athens, Greece. She is the author of Empedocles Redivivus, co-editor with David Konstan of The Philosophizing Muse, and co-editor with A. N. Michalopoulos and S. Papaioannou of Intertextuality in Seneca's Philosophical Writings. David Konstan is Professor of Classics at New York University. He is the author of Friendship in the Classical World, Beauty, In the Orbit of Love, and The Origin of Sin. Gretchen Reydams-Schils is Professor in the Program of Liberal Studies at the University of Notre Dame and holds concurrent appointments in Classics, Philosophy, and Theology. She is the author of The Roman Stoics and Calcidius on Plato's Timaeus. Morteza Hajizadeh is a Ph.D. graduate in English from the University of Auckland in New Zealand. His research interests are Cultural Studies; Critical Theory; Environmental History; Medieval (Intellectual) History; Gothic Studies; 18th and 19th Century British Literature. YouTube channel. Twitter. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/intellectual-history

Several decades of scholarship have demonstrated that Roman thinkers developed in new and stimulating directions the systems of thought they inherited from the Greeks, and that, taken together, they offer many perspectives that are of philosophical interest in their own right. The Oxford Handbook of Roman Philosophy explores a range of such Roman philosophical perspectives through thirty-four newly commissioned essays. Where Roman philosophy has long been considered a mere extension of Hellenistic systems of thought, this volume moves beyond the search for sources and parallels and situates Roman philosophy in its distinctive cultural context. The Oxford Handbook of Roman Philosophy (Oxford UP,  2023) emphasizes four features of Roman philosophy: aspects of translation, social context, philosophical import, and literary style. The authors adopt an inclusive approach, treating not just systematic thinkers such as Cicero and Augustine, but also poets and historians. Topics covered include ethnicity, cultural identity, literary originality, the environment, Roman philosophical figures, epistemology, and ethics. Myrto Garani is Associate Professor of Latin Literature at the National and Kapodistrian University of Athens, Greece. She is the author of Empedocles Redivivus, co-editor with David Konstan of The Philosophizing Muse, and co-editor with A. N. Michalopoulos and S. Papaioannou of Intertextuality in Seneca's Philosophical Writings. David Konstan is Professor of Classics at New York University. He is the author of Friendship in the Classical World, Beauty, In the Orbit of Love, and The Origin of Sin. Gretchen Reydams-Schils is Professor in the Program of Liberal Studies at the University of Notre Dame and holds concurrent appointments in Classics, Philosophy, and Theology. She is the author of The Roman Stoics and Calcidius on Plato's Timaeus. Morteza Hajizadeh is a Ph.D. graduate in English from the University of Auckland in New Zealand. His research interests are Cultural Studies; Critical Theory; Environmental History; Medieval (Intellectual) History; Gothic Studies; 18th and 19th Century British Literature. YouTube channel. Twitter. Learn more about your ad choices. Visit megaphone.fm/adchoices

Several decades of scholarship have demonstrated that Roman thinkers developed in new and stimulating directions the systems of thought they inherited from the Greeks, and that, taken together, they offer many perspectives that are of philosophical interest in their own right. The Oxford Handbook of Roman Philosophy explores a range of such Roman philosophical perspectives through thirty-four newly commissioned essays. Where Roman philosophy has long been considered a mere extension of Hellenistic systems of thought, this volume moves beyond the search for sources and parallels and situates Roman philosophy in its distinctive cultural context. The Oxford Handbook of Roman Philosophy (Oxford UP,  2023) emphasizes four features of Roman philosophy: aspects of translation, social context, philosophical import, and literary style. The authors adopt an inclusive approach, treating not just systematic thinkers such as Cicero and Augustine, but also poets and historians. Topics covered include ethnicity, cultural identity, literary originality, the environment, Roman philosophical figures, epistemology, and ethics. Myrto Garani is Associate Professor of Latin Literature at the National and Kapodistrian University of Athens, Greece. She is the author of Empedocles Redivivus, co-editor with David Konstan of The Philosophizing Muse, and co-editor with A. N. Michalopoulos and S. Papaioannou of Intertextuality in Seneca's Philosophical Writings. David Konstan is Professor of Classics at New York University. He is the author of Friendship in the Classical World, Beauty, In the Orbit of Love, and The Origin of Sin. Gretchen Reydams-Schils is Professor in the Program of Liberal Studies at the University of Notre Dame and holds concurrent appointments in Classics, Philosophy, and Theology. She is the author of The Roman Stoics and Calcidius on Plato's Timaeus. Morteza Hajizadeh is a Ph.D. graduate in English from the University of Auckland in New Zealand. His research interests are Cultural Studies; Critical Theory; Environmental History; Medieval (Intellectual) History; Gothic Studies; 18th and 19th Century British Literature. YouTube channel. Twitter. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/european-studies

Several decades of scholarship have demonstrated that Roman thinkers developed in new and stimulating directions the systems of thought they inherited from the Greeks, and that, taken together, they offer many perspectives that are of philosophical interest in their own right. The Oxford Handbook of Roman Philosophy explores a range of such Roman philosophical perspectives through thirty-four newly commissioned essays. Where Roman philosophy has long been considered a mere extension of Hellenistic systems of thought, this volume moves beyond the search for sources and parallels and situates Roman philosophy in its distinctive cultural context. The Oxford Handbook of Roman Philosophy (Oxford UP,  2023) emphasizes four features of Roman philosophy: aspects of translation, social context, philosophical import, and literary style. The authors adopt an inclusive approach, treating not just systematic thinkers such as Cicero and Augustine, but also poets and historians. Topics covered include ethnicity, cultural identity, literary originality, the environment, Roman philosophical figures, epistemology, and ethics. Myrto Garani is Associate Professor of Latin Literature at the National and Kapodistrian University of Athens, Greece. She is the author of Empedocles Redivivus, co-editor with David Konstan of The Philosophizing Muse, and co-editor with A. N. Michalopoulos and S. Papaioannou of Intertextuality in Seneca's Philosophical Writings. David Konstan is Professor of Classics at New York University. He is the author of Friendship in the Classical World, Beauty, In the Orbit of Love, and The Origin of Sin. Gretchen Reydams-Schils is Professor in the Program of Liberal Studies at the University of Notre Dame and holds concurrent appointments in Classics, Philosophy, and Theology. She is the author of The Roman Stoics and Calcidius on Plato's Timaeus. Morteza Hajizadeh is a Ph.D. graduate in English from the University of Auckland in New Zealand. His research interests are Cultural Studies; Critical Theory; Environmental History; Medieval (Intellectual) History; Gothic Studies; 18th and 19th Century British Literature. YouTube channel. Twitter. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/italian-studies

Though measles was declared eliminated in the U.S. decades ago, outbreaks do still happen here, and in other places it's much more common. Before vaccines were widely available, it killed an estimated 2.6 million people worldwide each year. Research: "Measles cases rising alarmingly across Europe: WHO." IANS, 24 Jan. 2024, p. NA. Gale OneFile: Health and Medicine, link.gale.com/apps/doc/A780229341/GPS?u=mlin_n_melpub&sid=bookmark-GPS&xid=624cac48. Accessed 13 Feb. 2024. "The Medical Influence of Rhazes." Science and Its Times, edited by Neil Schlager and Josh Lauer, vol. 2, Gale, 2001. Gale In Context: World History, link.gale.com/apps/doc/CV2643450171/WHIC?u=mlin_n_melpub&sid=bookmark-WHIC&xid=5ed3d18a. Accessed 13 Feb. 2024. Associated Press. “Measles deaths worldwide jumped 40% last year, health agencies say.” 11/16/2023. https://apnews.com/article/measles-epidemic-children-who-cdc-bb62da7Measles%20deaths%20worldwide%20jumped%2040%%20last%20year,%20health%20agencies%20say Berche, Patrick. “History of measles.” La Presse Médicale. Volume 51, Issue 3, September 2022. https://www.sciencedirect.com/science/article/pii/S0755498222000422 Carson-DeWitt, Rosalyn, MD, et al. "Measles." The Gale Encyclopedia of Public Health, edited by Brigham Narins, 2nd ed., vol. 2, Gale, 2020, pp. 675-680. Gale In Context: Environmental Studies, link.gale.com/apps/doc/CX7947900178/GPS?u=mlin_n_melpub&sid=bookmark-GPS&xid=5cb0c749. Accessed 13 Feb. 2024. Centers for Disease Control. “Measles History.” https://www.cdc.gov/measles/about/history.html Conis E. Measles and the Modern History of Vaccination. Public Health Reports. 2019;134(2):118-125. doi:10.1177/0033354919826558 Düx A, Lequime S, Patrono LV, Vrancken B, Boral S, Gogarten JF, Hilbig A, Horst D, Merkel K, Prepoint B, Santibanez S, Schlotterbeck J, Suchard MA, Ulrich M, Widulin N, Mankertz A, Leendertz FH, Harper K, Schnalke T, Lemey P, Calvignac-Spencer S. Measles virus and rinderpest virus divergence dated to the sixth century BCE. Science. 2020 Jun 19;368(6497):1367-1370. doi: 10.1126/science.aba9411. PMID: 32554594; PMCID: PMC7713999. Home, Francis. “Medical facts and experiments.” London, 1759. https://archive.org/details/b30785558/ Manley, Jennifer. “Measles and Ancient Plagues: A Note on New Scientific Evidence.” Classical World, Volume 107, Number 3, Spring 2014, pp. 393-397. https://doi.org/10.1353/clw.2014.0001 Panum, Peter Ludwig. “Observations made during the epidemic of measles on the Faroe Islands in the year 1846.” Gerstein - University of Toronto. https://archive.org/details/observationsmade00panuuoft Papania MJ, Wallace GS, Rota PA, et al. Elimination of Endemic Measles, Rubella, and Congenital Rubella Syndrome From the Western Hemisphere: The US Experience. JAMA Pediatr. 2014;168(2):148–155. doi:10.1001/jamapediatrics.2013.4342 Patel, Minal K. et al. “Progress Toward Regional Measles Elimination — Worldwide, 2000–2019.” Morbidity and Mortality Weekly Report, November 13, 2020, Vol. 69, No. 45 (November 13, 2020). Via JSTOR. https://www.jstor.org/stable/10.2307/26967781 Rāzī, Abū Bakr Muḥammad ibn Zakarīyā. “A treatise on the small-pox and measles.” Translated by William Alexander Greenhill. 1848. https://archive.org/details/39002086344042.med.yale.edu/mode/1up Sydenham, Thomas. “The works of Thomas Sydenham, M.D.” London, 1848. https://archive.org/details/b33098682_0002 The College of Physicians of Philadelphia. “Measles.” History of Vaccines. https://historyofvaccines.org/history/measles/timeline West, Katherine. "THE RETURN OF MEASLES: With modern vaccine skepticism, the once-eliminated disease is surging in the U.S." EMS World, vol. 48, no. 6, June 2019, pp. 44+. Gale General OneFile, link.gale.com/apps/doc/A711878059/GPS?u=mlin_n_melpub&sid=bookmark-GPS&xid=8d0bb2cb. Accessed 13 Feb. 2024. See omnystudio.com/listener for privacy information.

Though it was the largest religion in the ancient world by both the number of adherents and geographical scope, Zoroastrianism is still vastly understudied in religion, history, and especially classics.What is Zoroastrianism? How has this Iranian religion impacted the Classical World? And why is one of the world's oldest organized faiths so often over looked? Pablo Vazquez, a noted scholar of and convert to Zoroastrianism, provides an introduction to one of the oldest continuously practiced faiths in history, how the faith influenced the ancient world, and what it is like today.Central to this will be the Gathas and the Old Avestan texts which are said to be composed directly by the religion's enigmatic founder, Zarathushtra, and thus form the core of Zoroastrianism.You can order Pablo's book, The Sacred Gathas of Zarathushtra & the Old Avestan Canon: A Modern Translation of Ancient Wisdom, here: https://www.amazon.com/Sacred-Gathas-Zarathushtra-Avestan-Canon/dp/1785359614This podcast was brought to you by Classical Wisdom, a site dedicated to bringing ancient wisdom to modern minds. To learn more about Classical Wisdom and sign up for our free newsletter, please go to: https://classicalwisdom.substack.com/

A man, a legend, a myth. So much is a mystery about Marcus Gavius Apicius the gourmet, and Apicius De Re Coquinaria, the oldest surviving cookbook from the Classical World. Before the word Epicurean was in use, there was "Apician" 'of or pertaining to Apicius the notorious Roman gourmand.' My guest today, Andrew Kenrick is a tutor at University of East Anglia who wrote Eating the Empire: The Life and Dines of a Roman FoodieEating the Empire is a book about the life and food of the world's first celebrity chef and author of the oldest surviving cookbook, Marcus Gavius Apicius where he attempts to uncover the real Apicius, buried amidst the scandal and myth that surrounded his life.Enjoy!The Delicious LegacySupport this show http://supporter.acast.com/the-delicious-legacy. If you love to time-travel through food and history why not join us at https://plus.acast.com/s/the-delicious-legacy. Hosted on Acast. See acast.com/privacy for more information.

Richness proceeds in understanding Scripture! Thank you for listening! Please leave a 5 star review, share and subscribe!

In this episode cross-posted from the Oxford Policy Podcast, Nick Fabbri and Dr. Paul Monk discuss the crises facing the liberal democracies today, and the lessons that the Roman Republic and Greek democracies may hold for the 21st century. We cover Paul's recent papers delivered to the Institute of Law and Strategy, and his tours of Finland, Poland, Lithuania, Latvia, and Estonia discussing the wars in Ukraine, the Middle East, and the broader geopolitical situation. Dr Paul Monk is a writer, poet, and highly regarded Australian public intellectual with a background in security, intelligence, and consulting. His writing regularly appears in the Australian press, and he has written an extraordinary range of books, from Sonnets to a Promiscuous Beauty, to reflective essays on the riches of Western civilisation in The West in a Nutshell, to a prescient treatise on the rise of China in Thunder from the Silent Zone: Rethinking China. Subscribe to Oxford Policy Podcast on all podcast platforms, and follow us on Instagram @oxfordpolicypod_

In this episode of the Oxford Policy Podcast, Nick Fabbri and Dr. Paul Monk discuss the crises facing the liberal democracies today, and the lessons that the Roman Republic and Greek democracies may hold for the 21st century. We cover Paul's recent papers delivered to the Institute of Law and Strategy, and his tours of Finland, Poland, Lithuania, Latvia, and Estonia discussing the wars in Ukraine, the Middle East, and the broader geopolitical situation.Dr Paul Monk is a writer, poet, and highly regarded Australian public intellectual with a background in security, intelligence, and consulting. His writing regularly appears in the Australian press, and he has written an extraordinary range of books, from Sonnets to a Promiscuous Beauty, to reflective essays on the riches of Western civilisation in The West in a Nutshell, to a prescient treatise on the rise of China in Thunder from the Silent Zone: Rethinking China.Subscribe to Oxford Policy Podcast on all podcast platforms, and follow us on Instagram @oxfordpolicypod_

In PX110, our interview guest is Professor Tim Parkin, we talk all things Roman, particularly their city life. Tim Parkin joined the Classics and Archaeology department at the University of Melbourne in 2018 as the inaugural Elizabeth and James Tatoulis Chair in Classics. Before this he had spent over 11 years as Professor of Ancient History at the University of Manchester (UK). Tim is a New Zealander by birth who was awarded a D.Phil. at Oxford as a Rhodes Scholar and who, since 1989, has worked in universities in New Zealand, Australia, and the United Kingdom, as well as spending over a year in Germany as an Alexander von Humboldt research fellow. His teaching covers both Greek and Roman history and classical languages. His main research is in ancient history, particularly Roman social, cultural, and demographic history. Among his publications are Demography and Roman Society (1992), Old Age in the Roman World: A Social and Cultural History (2003), Roman Social History: A Sourcebook (2007), and The Oxford Handbook of Childhood and Education in the Classical World (2014). Tim is currently working primarily on ancient sexual health, in particular sexually transmitted diseases, as well as co-editing a cultural history of old age from antiquity to the current day and a BICS supplement on domestic violence in the Roman world, and working on papers on elders in the early Christian church and the demographic realities of the ancient countryside. He is currently supervising research students in a wide range of topics including feminist readings of Ovid's Metamorphoses, the geographical writings of Solinus, concepts of revenge in the Roman world, and the uses of food, magic and drugs in the works of Apuleius. In 2023 he continues in his role as Deputy Head of the School of Historical and Philosophical Studies and he takes on a new role as Deputy Associate Dean (Partnerships) in the Faculty of Arts. He is also Honorary President of the Classical Association of Victoria. In podcast extra / culture corner Tim recommends the NZ actor Sam Neil's Memoir ‘Did I Ever Tell You This?' https://www.textpublishing.com.au/books/did-i-ever-tell-you-this. Tim also recommends ‘Kellis: A Roman - Period Village in Egypt's Dakhleh Oasis' https://www.monash.edu/__data/assets/pdf_file/0011/2749916/Kellis-A-Roman-Period-Village-in-Egypts-Dakhleh-Oasis.pdf. Jess recommends ‘Dead Tide' by Fiona Mcintosh https://www.penguin.com.au/books/dead-tide-9781761344633 Pete recommends ‘My father and me' by Nick Broomfield. https://www.bfi.org.uk/sight-and-sound/reviews/my-father-me-nick-maurice-broomfield-working-class-photographer-life Also the work of Maurice Broomfield recognised by the V & A in the book ‘Maurice Broomfield Industrial Sublime' https://www.vam.ac.uk/exhibitions/maurice-broomfield-industrial-sublime (available in many libraries). See also https://mauricebroomfield.photography Audio production by Jack Bavage. Podcast released 30 October 2023. PlanningxChange is proud to be a part of the Urban Broadcast Collective.

Public bathhouses embodied the Roman way of life, from food and fashion to sculpture and sports. The most popular institution of the ancient Mediterranean world, the baths drew people of all backgrounds....but were all welcome there?Using the Roman bathhouse - a place suffused with nudity, sex, and magic - as a social laboratory, Professor Yaron Eliav reveals how Jews (and Christians) interacted with Greco-Roman culture... resulting in a cross-cultural engagement that shaped Western civilization as we know it.Enjoy this provocative discussion with Yaron Eliav and Anya Leonard and discover Jews of antiquity and their relationships in the Classical World.Yaron Z. Eliav is associate professor of rabbinic literature and Jewish history of late antiquity at the University of Michigan. He is the author of God's Mountain: The Temple Mount in Time, Place, and Memory and the producer of the documentary Paul in Athens.Yaron's newest book, A Jew in the Roman Bathhouse, challenges us to rethink the relationship between Judaism and Graeco-Roman society, shedding new light on how cross-cultural engagement shaped Western civilization.You can learn more about "A Jew in the Roman Bathhouse" HERE:https://press.princeton.edu/books/hardcover/9780691243436/a-jew-in-the-roman-bathhouseThis discussion was hosted by Classical Wisdom. To learn more about Classical Wisdom and to subscribe to our free newsletter, please go to: https://classicalwisdom.substack.com/*** Please note, this was recorded in June 2023***

​ @JordanBPeterson  Chaos and Order | Biblical Series: Exodus Episode 3 https://youtu.be/6q2D5-H71yY?si=g11gw3vH_mR-LKIG  The Medieval Mind of CS Lewis https://amzn.to/3L8sgOe   An Introduction to Christian Mysticism: Recovering the Wildness of Spiritual Life https://amzn.to/3OVq8dU     Upcoming TLC Events Breakwater Festival Mannheim Germany October 27-29 2023 Event Details and Tickets: https://buytickets.at/breakwater/935800   T-shirts: https://buytickets.at/breakwater/store Discord: tinyurl.com/BreakwaterDiscord   Festival Email: contact.breakwater@gmail.com  Flyer https://bit.ly/breakwaterfestival2023  https://events.eventzilla.net/e/convivium-2023-poetry-as-perception-2138588315 Join this channel to get access to perks: https://www.youtube.com/channel/UCGsDIP_K6J6VSTqlq-9IPlg/join   Paul Vander Klay clips channel https://www.youtube.com/channel/UCX0jIcadtoxELSwehCh5QTg Bridges of Meaning Discord https://discord.gg/UkptDXrP https://www.meetup.com/sacramento-estuary/ My Substack https://paulvanderklay.substack.com/ Estuary Hub Link https://www.estuaryhub.com/ If you want to schedule a one-on-one conversation check here. https://paulvanderklay.me/2019/08/06/converzations-with-pvk/ There is a video version of this podcast on YouTube at http://www.youtube.com/paulvanderklay To listen to this on ITunes https://itunes.apple.com/us/podcast/paul-vanderklays-podcast/id1394314333  If you need the RSS feed for your podcast player https://paulvanderklay.podbean.com/feed/  All Amazon links here are part of the Amazon Affiliate Program. Amazon pays me a small commission at no additional cost to you if you buy through one of the product links here. This is is one (free to you) way to support my videos.  https://paypal.me/paulvanderklay Blockchain backup on Lbry https://odysee.com/@paulvanderklay https://www.patreon.com/paulvanderklay Paul's Church Content at Living Stones Channel https://www.youtube.com/channel/UCh7bdktIALZ9Nq41oVCvW-A To support Paul's work by supporting his church give here. https://tithe.ly/give?c=2160640

As we go about our missionary encounter with Western culture, we need instruction from the Scriptures. And we need to see the Scriptures from the vantage point of the audience it was written to. There have been more tears cried on the pages of the Psalms than any other book, because it is a book that instructs us about who God is, who we are, and what to do in times of crisis. In the Psalms, we are taught how to look forward to the Messiah's kingdom, how to lament, celebrate, praise, trust, and recognize God's coming King. It is one of the most mysterious books and the most encouraging books, and it can be an interpretive minefield, which is why it helps to have such a renowned Old Testament scholar like Bruce Waltke step in as our guide. Travis and Bruce discuss his most recent book which he co-authored with Fred G. Zaspel, How To Read and Understand the Psalms (Crossway, 2023). Dr. Waltke is one of the preeminent Old Testament scholars, an "ent" of Old Testament studies. He holds a doctorate in Greek and New Testament from Dallas Theological Seminary and a doctorate in Ancient Near Eastern Languages and Literature from Harvard. His teaching career, spanning Dallas Theological Seminary, Regent College, Reformed Theological Seminary, Westminster Theological Seminary, and Knox Theological Seminary won him a reputation of being a master teacher with a pastoral heart. Dr. Waltke also pastored several churches, lectured at many evangelical seminaries in North America and has spoken at numerous Bible conferences.He is a member of the Committee of Bible Translation of the New International Version and helped translate the New American Standard Version. He served as editor for the Theological Word Book of the Old Testament, The New International Dictionary of Old Testament Theology and Exegesis, The New Geneva Study Bible, and Spirit of the Reformation Study Bible.Dr. Waltke has traveled widely as a Bible expositor, as an Area Supervisor for excavations at Gezer, Israel, and as Director of field study trips to the Middle East and the Classical World. He is married and has three grown children.Dr. Waltke has published widely in various scholarly journals and contributed to many scholarly reference volumes.Sign up for the Apollos Watered newsletter.Help support the ministry of Apollos Watered and transform your world today!

1.Setting the Scene  2. Classical World  3. Dark Ages.  Chapters 4 to 8 in the next episodeToday's episode is Bloody and Violent, but before we go any further, please SHARE this podcast with a friend – do it now https://www.bloodyviolenthistory.com/episodesThank you.  Many of you will recognise the opening quote from the fictional TV series A Song of Ice and Fire by George RR Martin.  It may be fiction but it doesn't mean the sentiment isn't true.  What Cersei said.  Before democracy, sovereigns ruled – often with absolute power over their court, their military, their subjects.  To be King, Queen, Pharaoh, Tsar or Emperor a person had to gain power over people, a person had to hold power over people and lastly that person had to pass that power onto their successor of choice.  ‘War should be the only study of a Prince.  He should consider peace only as breathing time, which gives him leisure to contrive, and furnishes as ability to execute, military plans'.  Yes Machiavelli; despite being tortured by a prince, was still clear headed enough to understand what a prince, a king, had to do to stay on top.  In peacetime a king can maintain his power with spectacles, tournaments and Royal progression across him realm – bread and circuses.  But when a challenge looms, war is not far behind.  The ruler must don his amour and lead his men to victory.  Or death.Even as young democracies emerged, kings, with their conviction upheld by Divine Right, would only reluctantly surrender the levers of power when a sharp blade is held to their throat.  How can monarchs gain, hold and pass on absolute power – have a listen to find out.so it goes,Tom Assheton and James Jackson See also:YouTube: BloodyViolentHistoryhttps://www.instagram.com/bloodyviolenthistory/https://www.jamesjacksonbooks.comhttps://www.tomtom.co.uk If you enjoy the podcast, would you please leave a short review on Apple Podcasts/iTunes, Spotify or Google Podcast App? It takes less than 60 seconds, and it really helps to spread the wordSee https://simplecast.com/privacy/ for privacy information

De 26-jarige Annabelle Traves uit Brisbane is een zeer getalenteerde violiste. Na haar opleiding aan het conservatorium in Sydney verhuisde ze in 2019 naar Duitsland om in München de Masteropleiding Solo Violin Performance te volgen. Maar tijdens die studie sloeg de pandemie toe en kreeg ze tijdens lockdown twijfels over haar toekomst als solo violiste. Ze besloot daarop een videoboodschap te sturen naar walsenkoning André Rieu. Annabelle mocht auditie doen en deed dat met succes. Vorige maand speelde ze voor het eerst met het Johann Strauss Orkest op het Vrijthof in Maastricht.

Today's guest Adrian Anantawan is a Canadian violinist who holds degrees from the Curtis Institute of Music, Yale University, and Harvard Graduate School of Education. He is also the founder of the Music Inclusion Program, which aims to help children with disabilities learn instrumental music with other typical peers. In this episode, We discuss the diversity needs in the current classical world, technical adaptation in music performance, and how to see strength through our disabilities. This interview in video format is available on the Thrive x Strive YouTube Channel. Please leave valuable reviews on the forum you are listening on and share your takeaway from today's episode. More details will be in the show notes on my website, amywangviolin.com/podcast. Thank you for listening!Thank you for listening! Find me on www.instagram.com/thrive_on_wheels/ and more video clips on Thrive x Strive YouTube Channel.

Ibsen referred to Emperor and Galilean as his "major work". The play describes the life of Julian, who ruled the Roman empire from AD361-363. Julian attempted to abolish the recently established state religion of Christianity and replace it with the worship of the ancient, pagan gods. The play is brimming with action and ideas, but is rarely performed. Rana Mitter discusses Ibsen's play and the history and religious ideas behind it with theatre critic and writer, Mark Lawson; historian and author of Pax, Tom Holland; Nicholas Baker-Brian, a theologian; and, Catherine Nixey, a journalist at the Economist and author of The Darkening Age: The Christian Destruction of the Classical World. Producer: Ruth Watts Emperor and Galilean will be broadcast as the Drama on 3 in July on BBC Radio 3 and available on BBC Sounds You can find another conversation about Ibsen's dramas available as an episode of Free Thinking and on BBC Sounds and a collection on the programme website exploring religious belief

Liv speaks with PhD student Yentl Love about queerness in the ancient world and Greek mythology, about classical reception in Lil Nas X (!!) and so much more. Follow Yentl (the Queer Classicist) on Twitter, and learn more on her site. Help keep LTAMB going by subscribing to Liv's Patreon for bonus content! CW/TW: far too many Greek myths involve assault. Given it's fiction, and typically involves gods and/or monsters, I'm not as deferential as I would be were I referencing the real thing. Attributions and licensing information for music used in the podcast can be found here: mythsbaby.com/sources-attributions.See omnystudio.com/listener for privacy information.

"Warriors, come out and play!" So goes the iconic line from this legendary violent retelling of an Ancient Greek tale.  Based on "The Anabasis" by Xenophon which tells the story of a band of Greek mercenaries trying to make their way home through enemy territories, "The Warriors" (1979) transposes this tale to the tough worlds of New York City in the 1970s.  Instead of a band of Greek mercenaries, it's a street gang making their way home through enemy neighborhoods. Civic leaders feared the film would cause violence.  Is it still dangerous after all these years?Find out as Sean Marlon Newcombe and Dr. Gary Stickel roam with The Warriors.

A reboot of the 1947 film "Down To Earth" and starring the incandescent Olivia Newton-John and the inimitable Gene Kelly, "Xanadu" (1980) seemed destined to be a hit.  Instead, it's renown as one of the great flops in Hollywood history.  But was this story of a Greek Muse come to earth really as bad as all that?  Join Sean Marlon Newcombe and Dr. Gary Stickel as they discuss this legendary film.

Featuring a goddess of the silver screen, 1947's "Down To Earth" tells the story of a goddess who comes down to earth to act as a muse for a struggling playwright.  Cinema deity Rita Hayworth stars as Terpsichore, one of the Nine Muses of Greek mythology and she decides to come down from the heavens to instruct a young writer/director on how to properly produce his musical on the Muses. Comedy and romance ensue. Is it a good film? How true is it to mythology?Join Sean Marlon Newcombe and Dr. Gary Stickel as they discuss this tale from Hollywood's Golden Era. 

Saint Augustine of Hippo is one of the most important figures of the Latin Middle Ages, and his writings have shaped Western thought on marriage and sexuality. However, few have considered the deeply influential role of the women in his life and how they shaped his thinking. Drawing on how Augustine's presents them in his startlingly intimate memoir, Confessions, it becomes clear that this canonical Western is not only arguably the first autobiography; it offers a rare account of the Classical World through the eyes of women. Today's guest is Kate Cooper, author of Queens of a Fallen World, a book that explores the troubled world of the waning Roman Empire through the lens of four prominent women whose lives were chronicled in Saint Augustine of Hippo's startlingly intimate memoir, Confessions — Justina, the troubled empress of ancient Rome; Tacita, the ten-year-old Milanese heiress from whom Augustine broke his engagement, irrevocably altering the course of both their lives; Monica of Thagaste, Augustine's mother; and Una, Augustine's mistress, companion of fifteen years and mother to his illegitimate son. It's a story of not only Augustine, but, more broadly, the role of women in Antiquity.

The Amazons are our inspiration and we thought it would be good to introduce our new listeners to some of discussions on the topic. In a wonderful, spirited discussion, we present and encore episode in which Max Dashu discusses her research into the warrior women called "Amazons." How did the Ancient Greek conception of femaleness shape the stories of Amazons that we know today? What is the relationship of Amazon concept to the warrior tribes that existed in the Black Sea region? Was there really a standalone tribe of warrior women? Sean Marlon Newcombe and Dawn "Sam" Alden discuss these concepts with Max.

An absolutely classic, iconic movie, Jason and the Argonauts (1963) has captured the imagination of young people for 60 years.  Notable for the wonderful stop-motion animation effects of Ray Harryhausen, the film also stars Honor Blackman who went on to her own iconic work as "Cathy Gale" in "The Avengers" British tv series and "Pussy Galore" in "Goldfinger."Sean Marlon Newcombe and Dr. Gary Stickel discuss this legendary film. 

The face that launched a thousand ships!  The most beautiful woman in the world! Queen of Sparta!  That is what we know of the legend of Helen of Troy.  In this week's episode we look at one of the times Hollywood told her tale, the 1956 movie eponymously titled "Helen of Troy." Starring Rosanna Podesta and Jacques Serna and featuring a very young Bridget Bardot, the film is very much in the style of the "Sword and Sandal" epics of its era.  Does it do Helen justice?  Join Sean Marlon Newcombe and Dr. Gary Stickel as they discuss. 

Andy Carter - Victorians and sport in the classical world by British Society of Sports History

It's Classical World at the Movies again and in this episode we discuss "Hercules In New York," the 1970 movie that marked Arnold Schwarzenegger's screen debut.Filmed on a shoestring budget, the film centers around the demigod Hercules and his desire to have a good time on earth-- and what better place to do that than "Fun City," New York, New York? Though released in 1970, the film still has a very '60s sensibility.  But what of its Classical references? Are they accurate?  Join us and find out!Sean Marlon Newcombe and Dr. Gary Stickel discuss. 

We present an encore presentation of John Colarusso's discussion of the the fabulous Nart Sagas.  As our following has grown, we'd like to acquaint our new listeners with some of the foundational topics of this podcast.  The Nart Sagas touch upon many of the foundational concepts explored in this podcast.  These sagas are a collection of heroic tales from the Black Sea Region and the Caucasus which are notable for their stories of warrior women and mystical matriarchs.  In the Classical World, Caucasia was known as the land of the fearsome female fighters whose name would pass into history as "Amazons."   Join us as we talk with John Colarusso, renown linguistic professor and the translator of these fabulous tales, as he introduces us to the history of these people, to their languages and to their stories. The tales of these powerful women will amaze. Sean Marlon Newcombe and Dawn "Sam" Alden co-host.

A new exhibition at the Ashmolean looks at the digs conducted by Sir Arthur Evans at Knossos in Crete. At the National Theatre Janet McTeer stars as the Cretan princess Phaedra in a new play by Simon Stone. Classicist Natalie Haynes, curator Andrew Shapland and Minoan archaeologist Nicoletta Momigliano join Rana Mitter to explore what the artefacts found at Knossos can tell us about the world of the Minoans and to delve into the powerful myths these Bronze Age Cretans left us. Labyrinth: Knossos, Myth and Reality runs at the Ashmolean Museum in Oxford from 10 Feb 2023 to 30 July 2023 Phaedra a new play by Simon Stone after Euripides, Seneca and Racine runs from 1 February to 8 April at the National Theatre in London Natalie Haynes is the author of books including Pandora's Jar: Women in the Greek Myths A production of Medea starring Sophie Okenedo and Ben Daniels runs at the Soho Theatre in London from Feb to 22nd April A debut novel called Phaedra by Laura Shepperton puts the stories of Medea and Phaedra together. Producer: Torquil MacLeod Radio 3's Words and Music has an episode inspired by The Aeniad broadcasting on Sunday February 26th at 17.30 and available on BBC Sounds for the following month You can find more conversations about the Classics in the Free Thinking archives including a discussion with Bettany Hughes, Paul Cartledge and Colm Toibin recorded at Hay 2017: Women's Voices in the Classical World

Today we're talking about the sleepiest man around, Rip Van Winkle. ► SOLOFAM MERCH: » https://bit.ly/SoloFamMerch ► Support the series on Patreon! » https://www.patreon.com/JonSolo ► Want more? » ALL Messed Up Origins: https://bit.ly/MessedUpOrgins » Disney Explained: https://bit.ly/DisneyExplained » ALL Mythology Explained: https://bit.ly/MythologyExplained » Norse Mythology: http://bit.ly/NorseMythologyExplained » Folklore Explained: https://bit.ly/FablesExplained » Astrology: http://bit.ly/AstrologyExplained » Messed Up Murders: https://bit.ly/MurderPlaylist ▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬ ► Social Media: » Twitter: https://twitter.com/JonSolo » Instagram: https://www.instagram.com/JonSolo » Facebook Fan Page: https://facebook.com/TheRealJonSolo » Official Subreddit: https://www.reddit.com/r/jonsolo ► Join the Official Channel Discord: » https://www.patreon.com/JonSolo ► Send Fan Mail to: » SoloFamMail@gmail.com ► Business: » biz@messeduporigins.com (Business Inquiries ONLY) ▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬ » The Darkening Age: The Christian Destruction of the Classical World (free PDF): https://www.docdroid.net/Z5L7Y5d/cath... » Support the author and this channel with the Amazon Affiliate link! https://amzn.to/3FdiYL6 ▼ Resources ▼ » my favorites: https://messeduporigins.com/books » Rip Van Winkle (full story): https://www.gutenberg.org/files/2048/... » Peter the Goatherd: https://en.wikisource.org/wiki/Grimm%... » The Life and Letters of Washington Irving (Part 2): https://www.google.com/books/edition/... » Washington Irving: An American Original: https://www.google.com/books/edition/... » The Original Knickerbocker: https://archive.org/details/originalk... Pseudonyms of Washington Irving: https://bobmcinnes.wordpress.com/pseu...

What you'll learn in this episode: Why ancient Nubian jewelry is still significant today How the Kingdom of Kush rose and fell How ancient jewelry motifs, techniques and materials were shared and adapted between cultures Why the Museum of Fine Arts Boston has a significant collection of ancient Nubian art, and why it's being exhibited at the Getty Villa Why jewelry is often one of the only pathways to understand ancient cultures About Dr. Sara E. Cole Sara E. Cole is Assistant Curator of Antiquities at the J. Paul Getty Museum (Villa). She holds a PhD in Ancient History from Yale University. At the Getty, she is part of the Classical World in Context initiative, which seeks to highlight cross-cultural interactions in antiquity and explore the diversity and interconnectedness of the ancient Mediterranean and Near East through a series of special exhibitions and related publications and public programs. She has curated or assisted with exhibitions of Egyptian, Mesopotamian, Neo-Assyrian, Persian, and Nubian art. About “Nubia: Jewels of Ancient Sudan” from the Museum of Fine Arts, Boston October 12, 2022 - April 3, 2023 Getty Villa Museum For nearly 3,000 years a series of kingdoms - collectively known as the Kingdom of Kush - flourished in ancient Nubia (present-day southern Egypt and northern Sudan). The region was rich in sought-after resources such as gold and ivory and its trade networks reached Egypt, Greece, Rome, and central Africa. This exhibition presents highlights from the Museum of Fine Arts, Boston's extensive collection of Nubian objects and features superbly crafted jewelry, metalwork, and sculpture exhibiting the wealth and splendor of Nubian society. Learn more about the exhibit at https://www.getty.edu/art/exhibitions/nubian_jewelry/ Photos available on TheJewelryJourney.com Transcript: Nubian jewelry is often overshadowed by Egyptian and Greco-Roman jewelry, but the ancient Nubians were the world's first jewelry pioneers. Their influential work is currently on display at “Nubia: Jewels of Ancient Sudan,” an exhibit at the Getty Villa featuring pieces from the collection of the Museum of Fine Arts in Boston. Dr. Sara E. Cole, assistant curator of the exhibit, joined the Jewelry Journey Podcast to talk about how Nubians developed their own enameling techniques; why jewelry is the key to understanding ancient cultures; and how iconography was shared and adapted throughout the ancient world. Read the episode transcript here.   Sharon: Hello, everyone. Welcome to the Jewelry Journey Podcast. This is the second part of a two-part episode. If you haven't heard part one, please head to TheJewelryJourney.com. Today, my guest is Sara Cole, who's the Assistant Curator of Antiquities at the Getty Villa in Malibu, California. She's the curator of “Nubia: Jewels of Ancient Sudan,” an exhibit at the Museum of Fine Arts in Boston which showcases Nubian material. These finds were jointly executed early in the last century by Harvard and the Museum of Fine Arts. The exhibit is now open until April 3. Welcome back. Can you look at a piece of jewelry and say, maybe not exactly where it came from, but the period? It's late; it's early? Can you look at one and know? Sara: To put it in a bigger perspective, something about this collection of material that makes it so special is that it is all from documented archaeological excavations that were carried out in the early 20th century. Jewelry can be quite challenging if you have no context for a piece other than by comparing it stylistically to other known examples. It can be quite difficult sometimes to try to approximate when and where something was made, or to say with 100% certainty that it's even ancient if you have no context for it. A lot of the same materials and techniques that were used in antiquity are used or can be mimicked today. But with all of this material, it came from documented archaeological excavation, so we know exactly where it was found. Thanks to that context, we are able to say approximately the time period in which it must have been made and used and placed in the tomb. I suppose you could compare other surviving examples with what we now know from the archaeological record, but with this material, we are able to be absolutely certain of its authenticity and the time period in which it was being made and used because we have that archaeological context. Because Nubia had such a close relationship with Egypt and they engaged in so much exchange, there are some pieces that are found in Nubian contexts that might have been made in Egypt and imported to Nubia. It's often very difficult to say precisely where something was made because they were using very similar techniques and materials and iconography. So, there are a number of pieces in the exhibition that we think might have been manufactured in Egypt and then imported into Nubia. But even where that's the case, those objects clearly have value to the Nubians because they speak to their cultural and religious beliefs and priorities. Sharon: So, people would wear this jewelry in life, the pectorals or amulets. Did they have the same thing in their grave? Were they buried with what they wore, or did they have something special for it? Is it something made just to be buried with? Sara: It's both, actually. These royal tombs contained rich assemblages of jewelry. Some of the items do appear, based on signs of wear, to have actually been worn in life and then placed in the tomb with the deceased. There are also pieces that appear to have been made specifically to go in the burial, things that are very, very delicate and seem like they would not have been able to work in real life, or certain objects that are made specifically for funerary contexts. There's one piece in the exhibition from the Napatan Period that's really exquisite. It's this large, gold repoussé image of the goddess Isis, who is kneeling and stretching her wings out in a protective gesture, but at the tips of her wings and below her legs are these little tabs that each have a hole punched in them. The piece is too delicate, it seems, to have been something that someone would wear in life. And because of those little tabs with the punched holes, we believe it was probably manufactured specifically for this king's burial, and that it was meant to be sewn into the linen mummy wrappings that were used to mummify his body. Often there were amulets, protective icons, pieces of jewelry that were incorporated into the wrappings during the mummification process. So, it's both. Some of these pieces were probably worn in life and then taken to the tomb, and some of them were made specifically for the burial context. Sharon: I'm surprised you can even tell the difference between Egypt and Nubia with the cross-pollination. You talk about Isis. Being an expert, how does somebody know it was Egyptian? The only thing I've heard is that earrings were Egyptian. There weren't earrings before that. Sara: It's actually the other way around. This is one of the areas where the Nubians may have influenced the Egyptians. Earrings appear in Nubia before they appear in Egypt, so it's possible the Egyptians got the idea for earrings from the Nubians. As I mentioned, too, the fly pendant ornament originates in Nubia and gets adopted by the Egyptians. So, there is influence going in both directions, and where the Nubians incorporate Egyptian religious ideas, religious iconography, protective icons, they're still adapting it. They're not directly copying it necessarily. They're adapting it to their local traditions, to the types of materials they work with, to the types of objects and ornaments they make. It's not necessarily just a direct copy. In some instances, it is hard to tell whether a specific piece was made in Nubia versus Egypt. But with the burials themselves, we know these are Nubians and not Egyptians because we're looking not just at the jewelry, but at the overall burial itself, the whole object assemblage, the types of materials they're being buried with. In addition to the jewelry, there would be things like vessels, pottery, tools, weapons, things that give us a bigger picture. The cultural identity is not just the jewelry, but also the way in which they're buried and the place in which they're buried. In the Kerma Period, they used a very distinctive type of burial. They used tumulus burials, these big, beehive-shaped mounds, which was a distinctive type of burial. Over time those mounds get larger and larger, and we can tell that some of them must have belonged to Kerma rulers. Even though there are now written records during that period, we're going strictly by the archaeological record. In the Napatan Period, they actually used Egyptian hieroglyphs for monumental inscriptions. We do start to get some written records that we can read, and when these kings' and queens' tombs were excavated, there were often items within the tomb inscribed with their names. So, we know who these tombs belonged to, and they belonged to Nubian and Napatan kings and queens. It's really looking at the big picture and not just at the jewelry specifically to identify who these items belonged to and whose burials they come from. Sharon: First, I want to know how anybody even knew these tombs were there. Everything you're describing, at least from the description of what was in the tombs, is what Carter found when he opened the tomb just a few years later, maybe 10 years later. I'm just wondering how they knew these tombs were there. How did they know that? Was it just the beehives that were standing on a farm? Sara: The material that's in the MFA Boston was all excavated in the early 20th century, from 1913 to 1932, by a joint Harvard/MFA Boston expedition led by an American archaeologist named George Reisner, who worked in both Egypt and Sudan. He took a team to Sudan that ended up excavating at Kerma, Napata and Meroë. He was tremendously successful in what he discovered, and he essentially rediscovered the city of Kerma. There have been excavations within the city itself, but they also discovered this vast cemetery outside of the city containing tens of thousands of these tumulus burials. Then at Napata and Meroë, they're utilizing pyramid burials, which are still visible on the landscape. You can walk up to them. He was really the first to do these rigorously documented, professional archaeological excavations of these places, and he found a tremendous amount of material. I should also mention the way it ended up in Boston is that, at the time, Sudan practiced the partage system, so he finds would essentially be split 50-50. About half the materials remain in Sudan, where it is now in the national museum in Khartoum, and about half the material was allowed to be taken back to Boston by Reisner, where it became part of the MFA collection. So, the MFA is now home to the largest and most significant collection of Nubian archaeological material in the world outside of Khartoum. Sharon: Did they suspect that there were these kingdoms, but nobody ever found them? Is that what happened? How did he start digging? Sara: To be perfectly honest, I would have to go back and double check how he determined exactly where he wanted to begin. Sharon: Why should we care about the Nubians? Why should we care about these kingdoms? You describe how it kept moving further south. That's usually because of agriculture. What caused them to move, besides invasion? Sara: That's a broad question. I don't know that we necessarily know for certain what was motivating them to move from one city to the next. In terms of the question of why we should care, that's something we could ask about any ancient civilization. It does raise this broader question about relevance that a lot of audiences are asking. I would say for Nubia especially, this is the region in northeastern Africa where some of the earliest civilizations of ancient Africa are arising. This is an incredibly important region that was also a real crossroads for international trade, given their connections to the Red Sea, into central Africa, into sub-Saharan Africa, and eventually out into the broader Mediterranean world. This was a very interconnected place with rich natural resources where some of the earliest complex civilizations of ancient Africa arise, so I think we absolutely should care about it. Speaking in terms of jewelry specifically, this is the place where some of the most exquisitely crafted, sophisticated pieces of ancient jewelry in the world were produced. They were incredibly skilled artisans who developed techniques for working with these materials that in some cases, like I mentioned with the enameling, were believed to have been invented in the modern era until recently. Sharon: That's amazing. I always have to think about the fact that they didn't have electric lights and they had to work by candlelight. They had to deal with sunlight only. I don't know exactly how to phrase this, but most of the time, if I were to take a piece from the little room of jewelry at the Getty Villa, and I want to take it out and put it on my wrists, nobody would know the difference. Would you say that's the same with a lot of this? Sara: I think so. It always strikes people how contemporary some of these pieces look. They look like things that could have been made today. Sharon: Were they going back or was this the start of it? Were they going back and building on what had been done before? Sara: They were really pioneers. They were developing new techniques and new styles for working with this material. In the pre-Kerma phase, in the archaeological record, there are items of personal adornment that are made from things like shell or imported faience sometimes, simple strings of beads, that kind of thing. But then as they develop kiln technology to make pottery, they're also able to apply that to making faience and eventually glass. They develop, as I mentioned, these very sophisticated techniques for working with different semiprecious stones, for working with gold, for working with glass and enameling. They're really not looking back to any existing precedent. They are developing these techniques for the first time. Sharon: That's amazing. You wonder why each civilization or each culture seems to have certain things that are ubiquitous, like a ram's head. You wonder, where did it start? What keeps your attention about all of this? Is it the cross-pollination? Sara: I don't even know where to begin answering that. I find this material endlessly fascinating. Every time you look at it, you see or appreciate something new, the intricacy of it, or as I mentioned, the ways in which this jewelry for the ancient Nubians is not just a status item. It's not just something beautiful to look at and wear. It's imbued with all of these layers of meaning. It reflects so many aspects of Nubian society and Nubian beliefs and Nubian practices. Because of the relative lack of written records from ancient Nubia, we are reliant on the archaeological record. So much of this jewelry helps us more broadly understand ancient Nubian society. I think you can come back to it and look at it over and over again and find new levels of meaning in it every time, as well as being able to appreciate how beautiful it is. Sharon: But you must have seen a lot of ancient jewelry. You've seen Greek and Roman and Egyptian and Nubian. What keeps your attention? What's so fascinating that it would keep your attention for so long? Sara: I think everything I just mentioned. The jewelry across ancient societies is fascinating for those same reasons, that it typically is not just about beauty and personal adornment. It's also reflective of cultural and religious beliefs, but I think it's the fact that this material is some of the earliest of its kind as well. As I mentioned, they're pioneers in developing new techniques or adopting techniques from other places and reengineering them as they did with faience, which was being made in Egypt prior to Nubia. They reengineered it, figured out how to make it for themselves. They were developing these unique techniques like the glazed quartz, the enameling techniques. It's incredible to think that 3,000, 4,000 years ago, people were making these items and developing these technologies and with handmade tools and natural light, and it would be very difficult to control temperatures of a kiln. It's incredible. Sharon: It is incredible. I know the Getty Villa is different than the Getty Center. The Getty Villa is a replica of a Roman villa, and it has a little room that has just jewelry. It's very small. It's a jewel box of a room, really. Do they have Nubian jewelry in there? Sara: We do not. We do not own any ancient Nubian jewelry in our permanent collection at the Villa. The Villa is a separate site from the Getty Center. We are home to the Getty Museum's Antiquities Collection specifically. Our permanent collection of antiquities is predominantly Greek, Roman and Etruscan. This Nubian exhibition is part of a broader initiative we've been engaged in in recent years, where we're trying to bring in special exhibitions featuring material from other ancient cultures and civilizations so our visitors can get a bigger picture of the ancient world. It's also so we're not perpetuating this idea that in antiquity, Greek and Roman are all there is. There's so much more than that. What's reflected in our permanent collection is Greek and Roman. So, through this special exhibition program, we're able to highlight other cultures. We also recently had a big exhibition on ancient Persia that included some stunning items of Persian jewelry. Sharon: I missed that one. Sara: We don't have any Nubian or Egyptian jewelry in our antiquities collection, so this is a unique opportunity. As I mentioned, this material is housed at the MFA Boston, so it's a unique opportunity for people on the West Coast to see a major exhibition of ancient Nubian material, but it is quite different. You can see some stylistic similarities like I mentioned with the Meroitic Period, when they have those trade connections to the Greco-Roman world. You can see stylistic similarities between some of our Greco-Roman pieces and some of the pieces in the Meroitic section of the exhibition, but it is very distinctive. It's a nice counterpoint. We have at the Getty a pretty significant collection of ancient, engraved gemstones as well as some Hellenistic gold jewelry and finger rings. You can see similarities. Finger rings with carved bezzles became very popular during the Meroitic Period as well, so you can see some similarities there with the rings being made in the Greco-Roman world. Sharon: If you haven't seen the little room with jewelry there, you could take any piece from the Greco-Roman era—and it's probably true of the Nubian era, too—and put it on, and nobody would know the difference if you went to the market. Sara: Yeah. Sharon: Something I came across mentioned the role of women in Nubia, that there was a stronger role. Can you tell us something about that? Sara: Yes, it seems throughout ancient Nubian history, in the Kingdom of Kush, royal women held particularly high status. We can see that in a few different ways. We can see that in their burials. We can see it some of their individual items of jewelry, which I'll mention, and we also see it in some of the practices that were being implemented, the roles that royal women had. In the Napatan period, there were a group of royal women who became associated with the god Amun and were sent to Thebes in Egypt, which was the Egyptian center of the worship of Egyptian Amun. These women were made into high priestesses of the god at his temple there. So, they held these very high-ranking, powerful positions, and these were royal women who were relatives of the Napatan kings who were also ruling in Egypt. They had great religious significance in this very important role, where they were sent to Egypt as god's wives of Amun, what we call them, or high priestesses of Amun. During the same period, there are some items of jewelry in royal women's tombs at Napata that speak to their importance. For instance, there's a piece in the exhibition that is easy to overlook because it's very small, but it's definitely worth taking the time to look at. It's a little silver pendant that shows the goddess Hathor, who I mentioned previously is the goddess of love and fertility and motherhood who gets adopted and becomes very important in the Nubian culture. It's an image of Hathor, and she is nursing a Nubian queen named Nefrukakashta. The item was found in her tomb. So, she is receiving, essentially, divine lifeforce from Hathor through being nursed by her. This is important because this was also a composition we see in Egypt,  but there it's only the kings who appear being nursed by Hathor. The king is embodying a divine role as pharaoh, so he receives divine lifeforce from Hathor. You never see royal women in ancient Egypt in this pose being nursed by Hathor, but in Nubia, we see it. The status of royal woman is higher there. They're considered worthy of being show in this position of being nursed by the goddess herself. By the time we get to the Meroitic Period, the final phase of the kingdom, there's actually a series of queens who take the throne for themselves and they rule as sole rules. These were very powerful women ruling over the Kingdom of Kush in its final phase, one of whom even famously fought off attempts at invasion by the Roman emperor Augusts. She signed a peace treaty with him to protect the border between Nubia and Egypt, which at that time had become a Roman province. So, royal women in ancient Nubia achieved very high status. Sharon: I think that's very interesting. I could talk to you for hours about the history of women and what happened after that. Thank you so much, Sara, for being with us today. I just want to remind you about the exhibit. I listened to a webinar and looked at the press release. It looks like it will be a very interesting exhibit. I look forward to seeing it in person live. It's through April 13. Dr. Sara Cole is the assistant curator. Thank you very much for being here today. Sara: Thank you so much for having me. We will have photos posted on the website. Please head to TheJewelryJourney.com to check them out. Thank you again for listening. Please leave us a rating and review so we can help others start their own jewelry journey.

What you'll learn in this episode: Why ancient Nubian jewelry is still significant today How the Kingdom of Kush rose and fell How ancient jewelry motifs, techniques and materials were shared and adapted between cultures Why the Museum of Fine Arts Boston has a significant collection of ancient Nubian art, and why it's being exhibited at the Getty Villa Why jewelry is often one of the only pathways to understand ancient cultures About Dr. Sara E. Cole Sara E. Cole is Assistant Curator of Antiquities at the J. Paul Getty Museum (Villa). She holds a PhD in Ancient History from Yale University. At the Getty, she is part of the Classical World in Context initiative, which seeks to highlight cross-cultural interactions in antiquity and explore the diversity and interconnectedness of the ancient Mediterranean and Near East through a series of special exhibitions and related publications and public programs. She has curated or assisted with exhibitions of Egyptian, Mesopotamian, Neo-Assyrian, Persian, and Nubian art. About “Nubia: Jewels of Ancient Sudan” from the Museum of Fine Arts, Boston October 12, 2022 - April 3, 2023 Getty Villa Museum For nearly 3,000 years a series of kingdoms - collectively known as the Kingdom of Kush - flourished in ancient Nubia (present-day southern Egypt and northern Sudan). The region was rich in sought-after resources such as gold and ivory and its trade networks reached Egypt, Greece, Rome, and central Africa. This exhibition presents highlights from the Museum of Fine Arts, Boston's extensive collection of Nubian objects and features superbly crafted jewelry, metalwork, and sculpture exhibiting the wealth and splendor of Nubian society. Learn more about the exhibit at https://www.getty.edu/art/exhibitions/nubian_jewelry/ Photos available on TheJewelryJourney.com Transcript: Nubian jewelry is often overshadowed by Egyptian and Greco-Roman jewelry, but the ancient Nubians were the world's first jewelry pioneers. Their influential work is currently on display at “Nubia: Jewels of Ancient Sudan,” an exhibit at the Getty Villa featuring pieces from the collection of the Museum of Fine Arts in Boston. Dr. Sara E. Cole, assistant curator of the exhibit, joined the Jewelry Journey Podcast to talk about how Nubians developed their own enameling techniques; why jewelry is the key to understanding ancient cultures; and how iconography was shared and adapted throughout the ancient world. Read the episode transcript here. Sharon: Hello, everyone. Welcome to the Jewelry Journey Podcast. This is the first part of a two-part episode. Please make sure you subscribe so you can hear part two as soon as it's released later this week. Today, my guest is Sara Cole, who's the Assistant Curator of Antiquities at the Getty Villa in Malibu, California. She's the curator of “Nubia: Jewels of Ancient Sudan,” an exhibit at the Museum of Fine Arts in Boston which showcases Nubian material. These finds were jointly executed early in the last century by Harvard and the Museum of Fine Arts. The exhibit is now open until April 3. Sara received her Ph.D. from Yale, which is amazing. She's an expert in ancient history and a specialist in material culture of Greco-Roman Egypt. She has studied the cross-pollination of cultures, and we'll hear a lot more about it today. Sara, welcome to the program. Sara: Thank you for having me. Sharon: So glad to have you. Tell us about your own journey. Did you come to jewelry through antiquities or archaeology, or the other way around? Sara: Yes, through my study of archaeology and Egyptology as a graduate student. That was primarily my introduction to this material. I became familiar with Nubia primarily through the MFA Boston's tremendous archaeological collection of Nubian material. When I was a graduate student at Yale back in, I think, 2011, I took a graduate seminar on Nubian archaeology with a Nubian specialist named Maria Gatto. In one of our classes, we took the train to Boston and got to spend a day going through the storerooms of the MFA looking at Nubian material. We were primarily looking at pottery that day, but we did get to see some other objects as well. In 2014, MFA put on its own small exhibition featuring their Nubian jewelry collection, so that brought that material a little bit more into public view. Then in 2019, the MFA did a big exhibition bringing out highlights of their full Nubian collection that was called “Ancient Nubia Now.” Since 2019, they very generously sent parts of this collection to different museums for exhibitions around the world. We're very fortunate at the Getty Villa that we were able to borrow some of these stunning pieces of jewelry and personal adornment from that collection for this current exhibition. Sharon: I have to ask you. When you were younger, you say you were interested in Egypt and ancient periods, but very few people go into archaeology. How is it that you stuck with it? Sara: Museums were really my entry point to the ancient world as a child, which I think is true for a lot of us. I grew up in a small town in Virginia and wasn't exposed to major museum collections as kid, but we had a small, local museum. It featured mostly local contemporary artists, but one summer they put on view a small touring exhibition of Egyptian material from the Virginia Museum of Fine Arts in Richmond. I was probably 11 or 12 years old. That was my first exposure to ancient Egyptian material, and I just found it incredibly captivating and compelling, and I stuck with that interest. I ended up doing a bachelor's degree in classics and then my Ph.D. in ancient history, where I studied a combination of Egyptology, classics and art history. But I've always had a great passion for museums in particular because it was my personal entry point to the ancient world. We do have the opportunity, through putting on exhibitions like this, to reach such wide audiences and to bring this material to their attention, things they've maybe never seen or considered before. It's a really wonderful opportunity. Sharon: It really is. When you say Nubia, a lot of us haven't really thought about Nubia or Nubian jewels. That's the entry point or the foundation. What is Nubia? What do you mean by Nubian? Sara: That's a great question, because I think a lot of people have heard of Nubia but they're not quite sure what it is. Traditionally it has received a lot less attention than ancient Egypt, which is this huge, looming civilization. When we talk about ancient Nubia, we're really talking about a geographical region that was located immediately south of ancient Egypt. They were neighbors. In terms of modern-day geography, it reached essentially from Aswan in what is now southern Egypt down to about Khartoum in present-day Sudan. The contemporary political border between Egypt and Sudan cuts across part of what was ancient Nubia, when the border was located further north between Nubia and Egypt. So, it's essentially this geographical region going across part of what is today southern Egypt and northern Sudan. For parts of its ancient history, Nubia as a region was actually home to several different cultural groups. It wasn't always a single, unified culture. So, when we talk about Nubia, we're talking about the geographical area, and then there were different cultures that lived within Nubia. Around the third millennium B.C., a political institute called the Kingdom of Kush—because the region was known as Kush in antiquity—arose at the city of Karma in what is today Sudan. It eventually came to conquer essentially all of the region of Nubia. The Kingdom of Kush lasted on and off for a period of almost 3,000 years, and it moved to different capital cities in different phases. It first arose at Kerma in the third millennium B.C., then moved further south to a capital called Napata, which was also along the Nile River, around 750 B.C. Then in its final phase, starting around 350 B.C., it was centered at a city even further south on the Nile River called Meroë. So, when we talk about ancient Nubia, we're talking about that region, but for this exhibition, we're really focusing on items of jewelry that were worn by royalty and the elite of the Kingdom of Kush that were found at these three successive capital cities. Sharon: I was going to ask you if Napata and—is it Morocco? Sara: Meroë. Sharon: Meroë. I've heard so much about it, but did they all have jewelry? Did the royalty all have jewelry at all three of these sites? Sara: Yes, absolutely. Throughout human history, I think in all cultures we see personal adornment as a universal means of self-expression. It's a means of expressing status and power. But also in antiquity, much of this jewelry, either the materials themselves or the iconography incorporated into it, had symbolic religious significance. Items of jewelry were often amuletic and protective, or they could signify one's status in society, one's role. They reflect a lot about an ancient culture's social organization, religious beliefs, communities, etc. These items of jewelry speak to so much more than being aesthetically beautiful status items. So, yes, even very early in Kerma and even in pre-Kerma archaeology, we find items of jewelry in the archaeological record. Jewelry was very essential, especially for rulers and for individuals of high status, to express themselves in ancient Nubia. Sharon: Did both men and women have jewelry? Sara: Yes, they did. Men, women, children, and sometimes even very prized royal animals were adorned with jewelry. Sharon: Were these from tombs or graves? Sara: Yes, essentially all of the items in this exhibition were excavated from royal and wealthy burials. This was material that people valued in life but also chose to take with them to the grave. As a I mentioned, a lot of these pieces have iconography that is protective or amuletic, which would have particular significance in the context of the tomb. These are images that are going to protect you as you are making your transition to the afterlife. So, all of the material was excavated from burials. That is primarily where we find these high-status jewelry items still surviving. They survive because they were buried, and people didn't have the opportunity to reuse them or repurpose the materials. Sharon: First of all, I think I forgot to say that this exhibit is only on until April 3, which comes up quickly. I can't remember if I said that or not. Sara: Yes, two more months to go see it at the Villa. Sharon: When you say it's like a dynasty or the Kingdom of Kush lasted 3,000 years, I have this idea that it rose high and then it was—I don't want to say nothing, but they weren't reading. It was like the Dark Ages in a sense, really dark, and then it rose again in a different place. How did that work? Sara: The Kingdom of Kush went through fluctuations over that 3,000-year period. I wouldn't necessarily call it dark ages. The Nubians simply never developed the same tradition of extensive written records like we get from Egypt, so much of our knowledge of Nubia comes from the archaeological material. We just don't have extensive written historical documentation from this region. It wasn't part of the culture. They had a very complicated relationship with their neighbor to the north, Egypt, which is largely the reason for these periods of rise and fall. The Kingdom of Kush arose, like I mentioned, at Kerma in Sudan, during which time in northern Nubia, there were other cultural groups inhabiting that region who were in conflict with Egypt. The Kingdom of Kush eventually was able to take that region and unify Nubia under its rule. Kerma flourished for almost 1,000 years, from about 2,400 B.C. until roughly 1,550 B.C. But what happened around 1,550 was that Egypt entered into a very powerful period in its history, the New Kingdom, the rise of the Eighteenth Dynasty, and those kings invaded Nubia and took over. They occupied Nubia for about 500 years, during which time we don't have a tremendous amount of archaeological evidence for what was going on. But it seems like Nubians and Egyptians were essentially coexisting in Nubia during this period. As you can imagine, over 500 years, there's a huge amount of cross-cultural exchange as a result of the Egyptian presence in Nubia. Some Egyptian religious ideas get incorporated into local Nubian tradition, as does a lot of iconography. There are a lot of ways in which the Nubians start adapting some Egyptian concepts to their own local practices. Then the Egyptians get pushed out of Nubia around 1,000 B.C. approximately. The Kingdom of Kush starts to regroup and rebuild itself, and it reappears fully around 750 B.C., now at the capital city of Napata. What's interesting at the beginning of the Napatan phase is that the Nubians turn the tables on Egypt and invade them. They take over Egypt and rule for about 80 years. For that 80-year period, staring around 725 B.C., the Kingdom of Kush is at its greatest extent, going all the way from what is today Sudan up to the Mediterranean coast, ruling over both Nubia and Egypt. After that 80-year period, they get pushed out of Egypt but are still ruling the Kingdom of Kush from Napata. We see some really interesting ways in which the rulers of that 80-year period adapted an Egyptian mode of self-presentation. They're trying to present themselves as legitimate pharaohs in Egypt. They start presenting themselves in a way that is adapted from earlier pharaonic styles of self-presentation. Even though the Nubian kings are spending some time in Egypt, they choose to be sent back to Napata for their royal burials, and they start using pyramid tombs during this period. They start practicing mummification and incorporating some Egyptian-style object assemblages into their burials. We see some of those practices get adapted during this 80-year period, including the incorporation of a lot of Egyptian religious iconography into their jewelry. We see those trends continue later, even when they're no longer ruling in Egypt. Then during this Napatan phase, which lasts roughly 400 years, they start to gradually shift the capital further south to this third city of Meroë. By around 350 B.C., both the administrative capital and the royal cemetery have moved to Meroë, and this is the final phase of the Kingdom of Kush. This is a phase that lasts from roughly 350 B.C. to 350 A.D., when the Kingdom of Kush falls. It corresponds with the conquests of Alexander the Great throughout the eastern Mediterranean and ancient Near East, the rise of his successor kingdoms and then the rise of the Roman Empire. But throughout all of this, the Kingdom of Kush maintained its political independence. It never became part of Alexander's territories; it never became part of the Roman Empire, unlike Egypt, which did. They had a complex relationship with Rome, who at times tried to take Nubia unsuccessfully, but they were also connected to these vast trade networks that connected the Mediterranean and the Near East throughout the Roman Empire. It was a very cosmopolitan place, ancient Meroë. They were very closely connected through trade networks to the rest of the world. They were also producing some incredibly high-status pieces of jewelry with really exquisite craftsmanship. Then the Kingdom of Kush falls around 350 A.D. That's the big picture of what we're looking at here, with the history of the Kingdom of Kush and its different phases. Sharon: When you say Nubia, is that the same as the Kingdom of Kush? Do you mean the Kingdom of Kush or Nubia are one in the same, I guess? Sara: Nubia in antiquity was known as Kush, and then the Kingdom of Kush is the political entity ruling over that region. Sharon: Did the jewelry change over the years? Sara: It did, yes. We do see that even across these different phases, each one has a distinctive aesthetic. There is no single, unified Nubian look to the jewelry. Different fashions change over time. Different popular materials come in and out of fashion. In Kerma, in the earliest phases, we see jewelers making items out of locally available and imported organic materials. They're making use of things like hippo and elephant ivory to create cuff bracelets. They're making use of shells they imported from the Red Sea coast and fashioned into different items. They were also importing faience from Egypt. Ancient faience was a man-made, blue-green, glazed, quartz-based ceramic material that was very popular in Egypt. The Kermans were importing it initially, but then they developed their own faience-making technology and were able to produce their own. So, we start to see the use of this man-made material. They're using gold. Nubia in antiquity is known primarily as a land of gold because of their rich gold resources in the Eastern Desert. That was their main coveted natural resource. They had incredibly skillful techniques in working with gold. We see them using locally available semiprecious stones, things like carnelian and amethyst. They work with quartz in some really interesting ways. Quartz is found alongside gold, so it was probably symbolically associated with gold. Gold was valued not only because it was this very prized economic resource, but it was also an imperishable material. It was associated with immortality and the sun, and it was very highly symbolically valued. They would take quartz and do an interesting treatment that, as far as I am aware, is distinctive to ancient Kerma. They would take the quartz, either shaping it into spherical beads or taking chunks of it in its raw form to use as pendants, and they would put a blue-green glaze over it and fire it in a kiln to create a hard, shiny, translucent blue surface that creates this stunning, glass-like appearance when it's done successfully. It was a delicate technique. You had to be very careful, because if you raised the temperature in the kiln too quickly, the quartz would fracture and burst, and you would lose your item of jewelry you were making. They had to be very careful in this process, but again, as far as I know, this is a distinctive Kerman technique, a distinctive way of working with quartz. Those were the types of materials they were utilizing to make items of jewelry. There's also a particular ornament we start to see in Kerma that is really interesting and later gets adopted by the Egyptians, which is the fly pendant. They are these large pendants that were often worn in pairs strung around the neck, and they represent flies. We have an example in the exhibition where the head is made of gilded bronze and the wings are carved out of ivory. These are found in soldiers' tombs. They appear to have been given as a medal of honor to high-status members of the Nubian military. We can ask why they would choose a fly of all things to honor a member of the military, and we believe it's because if you go to Egypt, if you go to the Nile Valley, you will experience that the flies are very big and mean and aggressive. So, we think these fly pendants are a way of associating the aggression and the tenacity of the Nilotic flies with the aggression and the tenacity of Nubian warriors. Later these fly pendants actually get adopted in Egypt as well as a military medal of honor. So, those were the kinds of things we find at Kerma. As I mentioned, that period comes to an end with this big invasion of the Egyptians around 1,500 B.C. Then when the Kingdom of Kush rearises at Napata around 750 B.C., they invade Egypt. They take over, and we start to see how this 500-year period of intense cross-cultural interaction has resulted in the introduction of a lot of Egyptian iconography into the royal jewelry. We start to see a lot of images of goddesses like Hathor and Isis, who became very important in the Nubian pantheon. There is an Egyptian god called Amun who becomes introduced as the supreme god of ancient Nubia, but in his Nubian form specifically, he takes the form of a ram or a man with a ram's head. We believe that before this period, there was probably an indigenous ram god who Amun became assimilated with. So, we see a lot of ram iconography in the jewelry. There's a lot of iconography associated with the goddess Hathor, who was this Egyptian goddess of love, fertility, beauty and motherhood with whom Nubian queens and royal women became particularly associated. We see a lot of that kind of iconography. We see protective icons that have been introduced from Egypt, things like the Eye of Floridus, the scarab beetle, that kind of thing. They're working a lot in faience still. There are some queens' tombs from this period where these large faience plaques are very popular, again in the shapes of religious protective imagery, amuletic icons, gods and goddesses. They were big plaques that were strung on strings of beads and worn around the neck, essentially meant to sit over the chest to protect the pectorals. We see a lot of that kind of thing, this incorporation of new iconography, new religious ideas, sometimes a very Egyptian mode of self-presentation that they've adopted from the Egyptians. They're working in faience; they're working in gold. We do see some silver during this period. Silver was not locally available; it was an imported material, but we do see a lot of skilled gold work during this phase. They are developing some very sophisticated techniques for how to fashion items of jewelry, but also things like golden vessels. This is a phase where we start to see that Egyptian influence and some increasing sophistication in the techniques with which they're working, with both these man-made and locally available resources. In the Meroitic Period, we see those gold working techniques really hit their stride. There is some tremendously sophisticated gold work made during the Meroitic Period, where they're using techniques like granulation and filigree and very delicate wirework. At Meroë, they also start producing glass. Glass beads start to appear in the jewelry. Something that Meroë distinctively is also known for is the use of a wide range of enameling techniques. They would take powdered glass and apply it to the surface of items of jewelry, and then heat it to fuse it and create it a hard, shiny, colorful surface. There were multiple enameling techniques they developed at Meroë, some of which, prior to their discovery at Meroë, were thought to have not been invented until the modern era. There were techniques they developed at Meroë, and the knowledge of that technology was lost and rediscovered in modern times. This is also a phase during which we see, as I mentioned, a kind of cosmopolitan international style developing. We do see some Greco-Roman influences coming into play in the form of large, dangly pendant earrings and the development of new color schemes, for instance. There was a color scheme at Meroë that was especially popular, which was red, white and black. They would use cornelian, which was a popular material, to achieve the red and then import obsidian for black and travertine for white. Each phase has its own distinctive repertoire of objects and iconography and manufacturing techniques that were being used. Sharon: We will have photos posted on the website. Please head to TheJewelryJourney.com to check them out. END OF PART ONE

Guest: Violet Moller is a historian and writer who specializes in intellectual history. She is the author of the book The Map of Knowledge: A Thousand-Year History of How Classical Ideas Were Lost and Found. The post How the Islamic Empires Saved the Classical World appeared first on KPFA.

With the holiday season almost upon us, the Ancient Warfare Magazine team discuss new books released in 2022, old and new documentaries that are now available on streaming services and throw in a couple of audiobook suggestions for good measure!   Links (not quite a comprehensive list of all the media mentioned in the show) Books Adrienne Mayor, Greek Fire, Poison Arrows, and Scorpion Bombs: Unconventional Warfare in the Ancient World (2022) Conor Whately, A Sensory History of Ancient Warfare: Reconstructing the Physical Experience of War in the Classical World (2022) Murray Dahm, Hunnic Warrior vs Late Roman Cavalryman: Attila's Wars AD 440–53 (2022) Josiah Osgood, Uncommon Wrath: How Caesar and Cato's Deadly Rivalry Destroyed the Roman Republic (2022) MC Bishop, Roman Plate Armour (2022) Peter Stothard, Crassus: The First Tycoon (2022) Raffaele D'Amato, Post-Roman Kingdoms: ‘Dark Ages' Gaul & Britain, AD 450–800 (2023) Raffaele D'Amato, Roman Army Units in the Eastern Provinces (2): 3rd Century AD (2022) William Horsted, British Celtic Warrior vs Roman Soldier: Britannia AD 43–105 (2022)   Audiobooks Stephen Fry, Troy: The Siege of Troy Retold Tony Robinson, Odysseus: The Greatest Hero of them All   Film & TV Barbarians (2020 - ) In search of the Trojan War (1985) In the Footsteps of Alexander the Great (1998) On Hannibal's Trail (2010) Secrets of the Dead (2000 - ) Spartacus (1960) Scipione l'africano (1937)   Join us on Patron patreon.com/ancientwarfarepodcast    

What was the oracular tradition like in Ancient Greece and what were its matriarchal roots?  Join us we talk with Max Dashu about this incredible tradition.Sean Marlon Newcombe and Dawn "Sam" Alden co-host.

“This interconnection between Greek tradition and science and mathematics, and the Babylonian traditions in astronomy and all these other very technical and very advanced sciences, this was a moment which really created the basis for science, mathematics, and so on in the Western world, and indeed, throughout the world, in later centuries and millennia.” For more than a millennium, the Persian empire was the major political and economic force in western Asia. Beginning in the sixth century BCE, three dynasties of Persian rulers created the largest and most complex nation in the world. From the monumental reliefs of the Achaemenid ceremonial capital, Persepolis, to elaborate silver platters that tell the story of David and Goliath, the art and luxury objects of this period demonstrate the Persians' political power and self-image. At the same time, much of our knowledge of ancient Iran comes from Greek and Roman writings and artworks because of the relationships and rivalries among these civilizations. The exhibition Persia: Ancient Iran and the Classical World showcases a wide range objects from the three cultures that shed new light on ancient Persia and tell the story of cultural exchange in this fascinating empire. In this episode, Getty Museum director Tim Potts and curators Jeffrey Spier and Sara Cole discuss their exhibition Persia: Ancient Iran and the Classical World and some of the key objects in the show. The exhibition is on view at the Getty Villa through August 8, 2022. For images, transcripts, and more, visit https://blogs.getty.edu/iris/podcast-art-luxury-and-power-in-ancient-iran/ or http://www.getty.edu/podcasts To learn more about the exhibition Persia: Ancient Iran and the Classical World, visit https://www.getty.edu/art/exhibitions/persia/ To buy the catalogue for Persia: Ancient Iran and the Classical World, visit https://shop.getty.edu/products/persia-ancient-iran-and-the-classical-world-978-1606066805

The rise of Christianity in the first few centuries AD is one of the most significant stories in world history. But it's also an incredibly turbulent one. It's a story filled with (in)famous episodes of conflict with the Roman state. It's a story of co-existence, but also one of intolerance and of violence.From martyrdom to monasticism; from Celsus to Hypatia; from the Emperor Constantine hedging his divine bets to early Christians burning down one of the greatest architectural wonders of the ancient Mediterranean World. In today's episode Tristan chats to author and journalist Catherine Nixey about the rise of Christianity and the sometimes-violent interactions that early Christians had with the Classical World.This episode contains mentions of religious violence.For more Ancients content, subscribe to our Ancients newsletter here.If you'd like to learn even more, we have hundreds of history documentaries, ad free podcasts and audiobooks at History Hit - subscribe today!To download, go to Android or Apple store. See acast.com/privacy for privacy and opt-out information.

Ancient AmericaThe examination of four great civilizations that existed before Columbus's arrival in North America offers evidence of sustained contact between the Old and New Worlds• Describes the cultural splendor, political might, and incredibly advanced technology of these precursors to our modern age• Shows that North America's first civilization, the Adena, was sparked by ancient Kelts from Western Europe and explores links between Hopewell Mound Builders and prehistoric Japanese seafarersBefore Rome ruled the Classical World, gleaming stone pyramids stood amid smoking iron foundries from North America's Atlantic seaboard to the Mississippi River. On its east bank, across from today's St. Louis, Missouri, flourished a walled city more populous than London was one thousand years ago, with a pyramid larger--at its base--than Egypt's Great Pyramid. During the 12th century, hydraulic engineers laid out a massive irrigation network spanning the American Southwest that, if laid end to end, would stretch from Phoenix, Arizona, to the Canadian border. On a scale to match, they built a five-mile-wide dam from ten million cubic yards of rock. While Europe stumbled through the Dark Ages, a metropolis of weirdly shaped, multistory superstructures, precisely aligned to the sun and moon, sprawled across the New Mexico Desert.Who was responsible for such colossal achievements? Where did their mysterious builders come from, and what became of them? These are some of the questions investigated by Frank Joseph in his examination of ancient influences at work on our continent. He reveals that modern civilization is not the first to arise in North America but was preceded instead by four high cultures that rose and fell over the past three thousand years: the Adena, Hopewell, Mississippian, and Anasazi-Hohokam. How they achieved greatness and why they vanished so completely are the intriguing enigmas explored by this unconventional prehistory of our country, Advanced Civilizations of Prehistoric America.FRANK JOSEPH is the former editor in chief of Ancient American magazine and the author of The Destruction of Atlantis, The Lost Civilization of Lemuria, Survivors of Atlantis, and The Lost Treasure of King Juba. He lives in Minnesota.