Podcast appearances and mentions of Sarah E Bond

In this Beg-a-Thon live show, "Ancient Rome and the False Histories Inspiring Musk & the MAGA World," with guest Dr. Sarah E. Bond, we discuss Sarah's new book, Strike: Labor, Unions, and Resistance in the Roman Empire, and how Elon Musk and everyone in his MAGA orbit appropriate the aesthetics of Rome while understanding almost nothing about the history they're seemingly so infatuated with. Originally livestreamed on YouTube on Wednesday, February 19.      

Historian Sarah E. Bond retells the traditional story of Ancient Rome, revealing how groups of ancient workers unified, connected, and protested as they helped build an empire From plebeians refusing to join the Roman army to bakers withholding bread, this is the first book to explore how Roman workers used strikes, boycotts, riots, and rebellion to get their voices—and their labor—acknowledged. Sarah E. Bond explores Ancient Rome from a new angle to show that the history of labor conflicts and collective action goes back thousands of years, uncovering a world far more similar to our own than we realize. Workers often turned to their associations for solidarity and shared identity in the ancient world. Some of these groups even negotiated contracts, wages, and work conditions in a manner similar to modern labor unions. As the world begins to consider the value—and indeed the necessity—of unionization to protect workers, Strike: Labor, Unions, and Resistance in the Roman Empire (Yale UP, 2024) demonstrates that we can learn valuable lessons from ancient laborers and from attempts by the Roman government to limit their freedom. New Books in Late Antiquity is presented by Ancient Jew Review Sarah E. Bond is the Erling B. “Jack” Holtsmark Associate Professor in the Classics in the Department of History at the University of Iowa. She is the author of Trade and Taboo: Disreputable Professions in the Roman Mediterranean. She lives in Iowa City, IA. Michael Motia teaches in Classics and Religious Studies at UMass Boston 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

Historian Sarah E. Bond retells the traditional story of Ancient Rome, revealing how groups of ancient workers unified, connected, and protested as they helped build an empire From plebeians refusing to join the Roman army to bakers withholding bread, this is the first book to explore how Roman workers used strikes, boycotts, riots, and rebellion to get their voices—and their labor—acknowledged. Sarah E. Bond explores Ancient Rome from a new angle to show that the history of labor conflicts and collective action goes back thousands of years, uncovering a world far more similar to our own than we realize. Workers often turned to their associations for solidarity and shared identity in the ancient world. Some of these groups even negotiated contracts, wages, and work conditions in a manner similar to modern labor unions. As the world begins to consider the value—and indeed the necessity—of unionization to protect workers, Strike: Labor, Unions, and Resistance in the Roman Empire (Yale UP, 2024) demonstrates that we can learn valuable lessons from ancient laborers and from attempts by the Roman government to limit their freedom. New Books in Late Antiquity is presented by Ancient Jew Review Sarah E. Bond is the Erling B. “Jack” Holtsmark Associate Professor in the Classics in the Department of History at the University of Iowa. She is the author of Trade and Taboo: Disreputable Professions in the Roman Mediterranean. She lives in Iowa City, IA. Michael Motia teaches in Classics and Religious Studies at UMass Boston Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/history

Historian Sarah E. Bond retells the traditional story of Ancient Rome, revealing how groups of ancient workers unified, connected, and protested as they helped build an empire From plebeians refusing to join the Roman army to bakers withholding bread, this is the first book to explore how Roman workers used strikes, boycotts, riots, and rebellion to get their voices—and their labor—acknowledged. Sarah E. Bond explores Ancient Rome from a new angle to show that the history of labor conflicts and collective action goes back thousands of years, uncovering a world far more similar to our own than we realize. Workers often turned to their associations for solidarity and shared identity in the ancient world. Some of these groups even negotiated contracts, wages, and work conditions in a manner similar to modern labor unions. As the world begins to consider the value—and indeed the necessity—of unionization to protect workers, Strike: Labor, Unions, and Resistance in the Roman Empire (Yale UP, 2024) demonstrates that we can learn valuable lessons from ancient laborers and from attempts by the Roman government to limit their freedom. New Books in Late Antiquity is presented by Ancient Jew Review Sarah E. Bond is the Erling B. “Jack” Holtsmark Associate Professor in the Classics in the Department of History at the University of Iowa. She is the author of Trade and Taboo: Disreputable Professions in the Roman Mediterranean. She lives in Iowa City, IA. Michael Motia teaches in Classics and Religious Studies at UMass Boston Learn more about your ad choices. Visit megaphone.fm/adchoices

Historian Sarah E. Bond retells the traditional story of Ancient Rome, revealing how groups of ancient workers unified, connected, and protested as they helped build an empire From plebeians refusing to join the Roman army to bakers withholding bread, this is the first book to explore how Roman workers used strikes, boycotts, riots, and rebellion to get their voices—and their labor—acknowledged. Sarah E. Bond explores Ancient Rome from a new angle to show that the history of labor conflicts and collective action goes back thousands of years, uncovering a world far more similar to our own than we realize. Workers often turned to their associations for solidarity and shared identity in the ancient world. Some of these groups even negotiated contracts, wages, and work conditions in a manner similar to modern labor unions. As the world begins to consider the value—and indeed the necessity—of unionization to protect workers, Strike: Labor, Unions, and Resistance in the Roman Empire (Yale UP, 2024) demonstrates that we can learn valuable lessons from ancient laborers and from attempts by the Roman government to limit their freedom. New Books in Late Antiquity is presented by Ancient Jew Review Sarah E. Bond is the Erling B. “Jack” Holtsmark Associate Professor in the Classics in the Department of History at the University of Iowa. She is the author of Trade and Taboo: Disreputable Professions in the Roman Mediterranean. She lives in Iowa City, IA. Michael Motia teaches in Classics and Religious Studies at UMass Boston Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/italian-studies

Historian Sarah E. Bond retells the traditional story of Ancient Rome, revealing how groups of ancient workers unified, connected, and protested as they helped build an empire From plebeians refusing to join the Roman army to bakers withholding bread, this is the first book to explore how Roman workers used strikes, boycotts, riots, and rebellion to get their voices—and their labor—acknowledged. Sarah E. Bond explores Ancient Rome from a new angle to show that the history of labor conflicts and collective action goes back thousands of years, uncovering a world far more similar to our own than we realize. Workers often turned to their associations for solidarity and shared identity in the ancient world. Some of these groups even negotiated contracts, wages, and work conditions in a manner similar to modern labor unions. As the world begins to consider the value—and indeed the necessity—of unionization to protect workers, Strike: Labor, Unions, and Resistance in the Roman Empire (Yale UP, 2024) demonstrates that we can learn valuable lessons from ancient laborers and from attempts by the Roman government to limit their freedom. New Books in Late Antiquity is presented by Ancient Jew Review Sarah E. Bond is the Erling B. “Jack” Holtsmark Associate Professor in the Classics in the Department of History at the University of Iowa. She is the author of Trade and Taboo: Disreputable Professions in the Roman Mediterranean. She lives in Iowa City, IA. Michael Motia teaches in Classics and Religious Studies at UMass Boston Learn more about your ad choices. Visit megaphone.fm/adchoices

HOO BOY this week Roman historians Dr. Sarah Bond and Dr. Bret Deveraux drop in to talk about Ridley Scott's ode to his first film, uh, ancient Rome, Gladiator II. We talk about the legacy of the first film, our impressions of the new release, and the actual history behind Gladiator II. This discussion is pretty epic. Stay tuned and subscribe.About our guests:Dr. Sarah E. Bond is an Associate Professor of History at the University of Iowa. She is interested in late Roman history, epigraphy, late antique law, Roman topography and GIS, Digital Humanities, and the socio-legal experience of ancient marginal peoples. She earned a PhD in History from the University of North Carolina at Chapel Hill (2011) and obtained a BA in Classics and History with a minor in Classical Archaeology from the University of Virginia (2005). Her book, Trade and Taboo: Disreputable Professionals in the Roman Mediterranean, was published with the University of Michigan Press in 2016. Follow her blog: History From Below.Additionally, Bond is a regular contributor at Hyperallergic, a columnist at the Los Angeles Review of Books, and a section editor at Public Books. She has written for The New York Times, The Chronicle of Higher Education, and The Washington Post.  Bond's latest book, Strike: Labor, Unions, and Resistance in the Roman Empire will be out on February 4, 2025. It is available for preorder here: https://yalebooks.yale.edu/book/9780300273144/strike/Dr. Bret C. Devereaux is an ancient and military historian who currently teaches as a Teaching Assistant Professor at North Carolina State University. He has his PhD in ancient history from the University of North Carolina at Chapel Hill and his MA in classical civilizations from Florida State University.Bret is a historian of the broader ancient Mediterranean in general and of ancient Rome in particular. His primary research interests sit at the intersections of the Roman economy and the Roman military, examining the ways that the lives of ordinary people in the ancient world were shaped by the structures of power, violence and wealth under which they lived and the ways in which they in turn shaped the military capacity of the states in which they lived (which is simply a fancy way of saying he is interested in how the big picture of wars, economic shifts and politics impacted the ‘little' folks and vice versa). More broadly he is interested in many of the nuts-and-bolts of everyday life in the ancient world, things like the production of textiles, the economics of small farming households, and the burden of military service.He is also a lifetime fan of fantasy, science fiction and speculative fiction more generally. Bret enjoys good music, bad jokes and writing about himself in the third person. He is also required, by law and ancient custom, to inform absolutely everyone that he has, in fact, beaten Dark Souls (and now also Elden Ring).

Join us April 26 at 8:30 pm EST for our semiannual Beg-A-Thon live show! This time we will be discussing Ancient Aliens, Ancient Apocalypse, and all manner of racist, ahistorical History Channel and Netflix pseudoscience with Dr. Sarah E. Bond, Associate Professor of History at the University of Iowa.

This is simultaneously an excavation of both Imperial Rome and late 60's Italian cinema. Joined by the amazing Sarah E. Bond and Gregory Hays, we dig into Frederico Fellini's dreamlike, even frenetic, adaptation of the Satyricon by Petronius. This is a film which has a lot of offer when it comes to classical reception. In lieu of 'historically accuracy' (if we care about such things), Fellini presents us with a fantastical and at times unnerving vision of ancient Rome. In some ways, Fellini Satyricon is the true embodiment of how we receive both Petronius' work and the ancient world at large: fragmentary, perplexing and often unknowable. Final Verdict (courtesy of SEB): Watch more movies! Care less about accuracy! Hosted on Acast. See acast.com/privacy for more information.

This is simultaneously an excavation of both Imperial Rome and late 60's Italian cinema. Joined by the amazing Sarah E. Bond and Gregory Hays, we dig into Frederico Fellini's dreamlike, even frenetic, adaptation of the Satyricon by Petronius. This is a film which has a lot of offer when it comes to classical reception. In lieu of 'historically accuracy' (if we care about such things), Fellini presents us with a fantastical and at times unnerving vision of ancient Rome. In some ways, Fellini Satyricon is the true embodiment of how we receive both Petronius' work and the ancient world at large: fragmentary, perplexing and often unknowable. Final Verdict (courtesy of SEB): Watch more movies! Care less about accuracy!

On the eve of the Tokyo Olympics, we're turning our attention to another era of athletic competitions: the ancient Olympics. Professors Sarah E. Bond and Joel Christensen join Jonathan to discuss these early games and what they reveal about ancient Greek and Roman politics, religions, gender roles, and more. After you listen, make sure to check out Dr. Bond's first appearance on the show: Would I Have Been The Toast Of The Ancient Mediterranean? Sarah E. Bond is an Associate Professor of History at the University of Iowa and the Director of Undergraduate Studies. Her book, Trade and Taboo: Disreputable Professionals in the Roman Mediterranean, was published with the University of Michigan Press in 2016. Follow her on Twitter @SarahEBond. Joel Christensen is Professor and Chair of Classical Studies and Senior Associate Dean of Faculty Affairs at Brandeis University. He also runs the blog sententiaeantiquae.com and the associated Ancient Greek and Roman (and Cats) Twitter account @sentantiq. He has published introductory books on Homer with Elton T. E. Barker (Beginner's Guide to Homer, One World, 2013) and Erik Robinson (A Commentary on the Homeric Battle of Frogs and Mice, Bloomsbury, 2018) and recently completed The Many-Minded Man: the Odyssey, Psychology, and the Therapy of Epic with Cornell University Press (2020).  Find out what today's guests and former guests are up to by following us on Instagram and Twitter @CuriousWithJVN. Transcripts for each episode are available at JonathanVanNess.com. Check out Getting Curious merch at PodSwag.com. Listen to more music from Quiñ by heading over to TheQuinCat.com. Jonathan is on Instagram and Twitter @JVN and @Jonathan.Vanness on Facebook.

Hon var en internationellt erkänd skulptör, hon var svart och hon var kvinna. Men länge tycktes hon utraderad ur historien. Anna Blennow pusslar ihop några bitar i Edmonia Lewis exceptionella liv. ESSÄ: Detta är en text där skribenten reflekterar över ett ämne eller ett verk. Åsikter som uttrycks är skribentens egna. Denna essä sändes första gången i oktober 2020. Utanför det som en gång var skulptören Antonio Canovas atelje finns Roms kanske märkligaste fontän. Över ett vattenfyllt kar i granit ligger en naken mansfigur utsträckt. Hans kropp är skulpterad i en vittrad, brungrå vulkanisk stenart, medan huvudet en sorglöst flinande gubbe är marmorvitt. Figuren föreställer den ständigt vinberusade halvguden Silenus. Hans mörka stenkropp en återbrukad antik skulptur skulle föra tankarna till den vilda och ociviliserade naturen. Kring år 1800 var Canova en av de främsta representanterna för nyklassicismens tolkning av antikens skulpturkonst, och han porträtterade samtidens kändisar alltifrån påven till Napoleon i bländvit marmor. Men vad man ännu inte visste var att antiken var allt annat än färglös. Grekiska och romerska skulpturer var ursprungligen bemålade i starka färger, men när de återfanns framgrävda ur marken från renässansen och framåt hade färgen flagnat, och eventuella rester tvättades bort. Antiken blev vit, och de bleka skulpturerna laddades med föreställningar om ett idealiserat förgånget. Under andra hälften av 1800-talet arbetade Roms stora koloni av konstnärer fortfarande i samma stil. Av dem var många amerikaner. Så många att amerikanska tidningar regelbundet rapporterade om deras verksamhet. I februari 1867 skriver The Evening Telegraphs utsände: I Canovas gamla studio fann jag miss Edmonia Lewis, som, förmodar jag, är den enda färgade skulptrisen i världen en dam på kanske 23 år, med afrikanskt och indianskt blod i sina ådror. Hon kom till Rom för lite mer än ett år sedan som en främling okunnig i italienska. Men hon hade redan bestämt sig för vad hon skulle ägna sig åt Historien om Edmonia Lewis innehåller så många exceptionella detaljer att de spränger ramarna för vilken berättelse som helst. Ändå är stora delar av hennes liv fortfarande okända. Trots att Lewis levde i Rom i nästan trettio år tycks hon utraderad ur stadens minne, och trots att hon blev en av sin tids mest framgångsrika konstnärer var hon länge osynlig också i konsthistorien. Hon föddes i New York omkring år 1844, barn till en ursprungsamerikansk mor och en afrikanskättad far. Tidigt blev hon föräldralös och växte upp hos sin mors släkt i Ojibwe-stammen. Om den tiden skulle hon senare säga: Det finns ingenting så vackert som den vilda skogen. Att fånga en fisk, steka den över elden och äta den i det fria, är den största av alla njutningar. Jag skulle inte stå ut en vecka i stan, om det inte vore för att jag älskar konsten. Men vägen från den fria skogen till den fria konsten var lång. Lewis halvbror, som hade tjänat lite pengar på att arbeta som barberare, bekostade hennes utbildning vid Oberlin College i Ohio, det första amerikanska lärosäte som välkomnade icke-vita. Ändå utsattes hon för rasistiska angrepp där, och efter att ha gått i lära hos en skulptör arbetade hon målmedvetet för att ge sig av utomlands. För det enda hon ville var att verka som konstnär utan att ständigt bli påmind om sin hudfärg, och det var inte möjligt i Amerika. Hon specialiserade sig på porträttbyster av kända slaverimotståndare, som sålde så bra att hon hade råd att resa till Europa, till Rom. Via kontakter etablerade sig Lewis snabbt i Roms konstnärsvärld, och följde självsäkert sin egen väg. Hon gjorde inte, som andra skulptörer, förlagor i lera för att sedan låta lokala stenhuggare arbeta fram dem i monumentalt format i marmor. Hela den tunga processen utförde hon själv. Hon brydde sig inte om att invänta beställningar på kostsamma större skulpturer, utan skapade de verk hon ville, och lyckades oftast hitta köpare till dem. Och i Rom förde hon en ständig frihetskamp i sin konst. Forever Free visar ett afrikanamerikanskt par som lägger av slaveriets bojor. Skulpturgruppen Hiawathas bröllop inspirerades av poeten Henry Wadsworth Longfellows dikt Hiawathas Song, som byggde på ursprungsamerikanska myter. Lewis popularitet bara ökade, och hon reste ofta tillbaka till Amerika för att visa sina verk. Störst uppseende väckte en skulptur av Kleopatras självmord på världsutställningen i Philadelphia år 1876. Drottningens dödsögonblick framställdes av Lewis som en seger: Kleopatra kunde inte underkuvas av den romerska övermakten. Mot slutet av 1800-talet tappade nyklassicismen i popularitet, och konstens huvudstad flyttade från Rom till Paris. Lewis stjärnstatus dalade, och hon hamnade till slut i London, där hennes vidare öden är okända. Länge visste man inte ens var hon låg begravd, men för bara några år sedan lokaliserades hennes omärkta grav på en Londonkyrkogård. Där ligger nu en blank, svart sten med inskrift i guldbokstäver: Edmonia Lewis, skulptör. Men under de senaste decennierna har man börjat rekonstruera Edmonia Lewis historia, som precis som många av hennes verk skingrats och gått förlorad under 1900-talet. Kleopatraskulpturen, som förblev osåld, hamnade till exempel som gravmonument över en kapplöpningshäst i en förort till Chicago, köptes senare av en lokal tandläkare, och förpassades sedan till ett förråd där en konsthistoriker fann den i slutet av 1980-talet. Idag finns den i Smithsonian American Art Museum. Få fotografier av Lewis är bevarade. Bara ett av dem kommer från hennes tid i Rom. Hon poserar klädd i en kritvit klänning med spetsar och volanger i lager på lager. Och historien om henne är ett lapptäcke av färg och vithet, historia och ideal, hud och kropp. Författaren Henry James raljerade över hur hennes hudfärg, som pittoreskt kontrasterade mot hennes material, var den främsta orsaken till hennes berömmelse, svart mitt i den marmorvita flocken av kvinnliga konstnärer i Rom. Men själv sade hon: Vissa berömmer mig för att jag är färgad, och den sortens beröm vill jag inte ha. Anmärk hellre på mina brister, för det kommer att lära mig något. Lewis positionerade sig med självklarhet mitt i den västerländska, vita kulturhistoria vars centrum vid den tiden fortfarande var Rom. Hon signerade sina verk på latin: Edmonia Lewis fecit Roma. Hennes skulpturer av icke-vita individer avbildade i vit marmor tog plats i samtidskonsten utan den tidstypiska exotisering och sexualisering av det främmande som till exempel kom till uttryck i idén om den ädle vilden. Men varken Lewis eller hennes samtida visste att den värdighet som det marmorvita skulle låna sina bärare byggde på en felaktig premiss om den vita antiken. Och antikens skulptur var inte bara bemålad. Precis som i skulpturen av Silenus använde man färgad sten för att signalera det främmande hos såväl ociviliserade naturgudar som de avlägsna folkslag man införlivat i sitt rike. Också stensorterna kom från områden i romarrikets utkanter: grön marmor och röd porfyr från Egypten; rödspräcklig och svart marmor från Turkiet. Den färgade stenen blev både exotisk markör och maktdemonstration från väldet som sträckte sig över hela den kända världen. Kontrasten kunde inte vara större mot den frihet som genomsyrade Edmonia Lewis liv och verk. Anna Blennow, latinforskare och poet Litteratur Edmonia Lewis  internationally renowned sculptor, Charlotte Etinde-Crompton & Samuel Willard Crompton, 2020. The Lure of Italy. American Artists and the Italian Experience, 17601914, ed. Theodore Stebbins, Jr, Museum of Fine Arts, Boston, 1992. Barbro Santillo Frizell, Antikens marmorstatyer en vit lögn, Svenska Dagbladet 2009-02-11 Sarah E. Bond & Sean P. Burrus, Barbarians and Sculptures Color Barrier in Ancient Rome, Hyperallergic 2018-05-31 Heidi Morse, Roman Studios. The Black Woman Artist in the Eternal City, from Edmonia Lewis to Carrie Mae Weems, i Classicisms in the Black Atlantic, eds. Ian Moyer, Adam Lecznar & Heidi Morse, 2020.

Raise a glass (or an amphora!) to this week’s episode of Getting Curious, all about ancient Mediterranean drinking cultures. Associate Professor of History at the University of Iowa Dr. Sarah E. Bond speaks with Jonathan about ancient Egyptians who loved beer, ancient Greeks who sipped the night away at symposia, and ancient Romans who went bar hopping. There’s truly so much to imbibe here, and thankfully, knowledge pairs well with whatever you’re already drinking.   Follow Dr. Bond on Twitter @SarahEBond, and make sure to check out her writing in Hyperallergic, The New York Times, Forbes, and beyond. Her 2016 book Trade and Taboo: Disreputable Professionals in the Roman Mediterranean is published by the University of Michigan Press.   Find out what today’s guest and former guests are up to by following us on Instagram and Twitter @CuriousWithJVN.    Listen to more music from Quiñ by heading over to TheQuinCat.com. Jonathan is on Instagram and Twitter @JVN and @Jonathan.Vanness on Facebook. See omnystudio.com/listener for privacy information.

In 476, the last of the Roman emperors in the West was deposed; in 1776, historian Edward Gibbon wrote “The History of the Decline and Fall of the Roman Empire”, and Rome's fate became a major point of comparison for all empires. In Gibbon's view, instead of inquiring why the Roman empire was destroyed precisely 1300 years before, we should rather be surprised that it had subsisted so long. Ever since, there has been a fascination with what changed in Rome in 476 and why, and whether there were more significant changes earlier or later than that date and, importantly, what stayed the same. In this edition of The Forum, Rajan Datar explores the ideas about Rome's Fall with Sarah E. Bond, Associate Professor of History at the University of Iowa, USA; Meaghan McEvoy, Lecturer in Byzantine Studies at Macquarie University in Sydney, Australia; and Peter Heather, Professor of Medieval History at King's College London, UK. (Photo: Sack of Rome by the Visigoths led by Alaric I in 410. Coloured engraving. Credit: Prisma/Universal Images Group via Getty Images)

The term "Western civilization" has long been a staple of the American Right, but with the recent resurgence of white nationalism, it is having something of a comeback. Glenn Beck and Bill O'Reilly are hosting a two-week Mediterranean "cruise thru history" to "explore the roots of Western civilization." The Intellectual Dark Web's Jordan Peterson tells us “The West is Right,” while The Daily Caller and Fox News are busy “celebrating the West." Neo-Nazi Matthew Heimbach hails “Youth for Western Civilization." Both the traditional and so-called alt-right ground their worldviews in a fictional moral arc of "The West” that bares little resemblance to reality.   Learning from the past and applying those lessons to the present is a good thing. But in pop political discourse, the Classics have been misused and abused to promote an origin story that never was - a white Greco-Roman world birthing our noble, so-called “Judeo-Christian” American empire to gloss over a history of exploitation, imperialism, slavery and conquest.   On this episode, we’ll explore the right-wing obsession with the ancient world, it’s influence on neoconservative empire-building and alt-right white nationalism alike, and how our common cultural understanding of the ancient world has been perpetually white-washed to promote a clash of civilizations narrative and racist pseudo-science.   We are joined by Dr. Sarah E. Bond, Associate Professor at the University of Iowa, and Dr. Cord Whitaker, Associate Professor at Wellesley College.