Inspired by anthropological writing on reciprocity and kinship, this book applies the idea of gendered wealth to ancient Greek myth for the first time, and also highlights the importance of the sister-brother bond in the Classical world.

When Justinian became sole ruler of the Byzantine Empire in A.D. 527, he ordered the preparation of three compilations of Roman law that together formed the Corpus Juris Civilis. These works have become known individually as the Code, which collected the legal pronouncements of the Roman emperors, the Institutes, an elementary student's textbook, and the Digest, by far the largest and most highly prized of the three compilations. The Digest was assembled by a team of sixteen academic lawyers commissioned by Justinian in 533 to cull everything of value from earlier Roman law. It was for centuries the focal point of legal education in the West and remains today an unprecedented collection of the commentaries of Roman jurists on the civil law.

Commissioned by the Commonwealth Fund in 1978, Alan Watson assembled a team of thirty specialists to produce this magisterial translation, which was first completed and published in 1985 with Theodor Mommsen's Latin text of 1878 on facing pages. This paperback edition presents a corrected English-language text alone, with an introduction by Alan Watson.

When Justinian became sole ruler of the Byzantine Empire in A.D. 527, he ordered the preparation of three compilations of Roman law that together formed the Corpus Juris Civilis. These works have become known individually as the Code, which collected the legal pronouncements of the Roman emperors, the Institutes, an elementary student's textbook, and the Digest, by far the largest and most highly prized of the three compilations. The Digest was assembled by a team of sixteen academic lawyers commissioned by Justinian in 533 to cull everything of value from earlier Roman law. It was for centuries the focal point of legal education in the West and remains today an unprecedented collection of the commentaries of Roman jurists on the civil law.

Commissioned by the Commonwealth Fund in 1978, Alan Watson assembled a team of thirty specialists to produce this magisterial translation, which was first completed and published in 1985 with Theodor Mommsen's Latin text of 1878 on facing pages. This paperback edition presents a corrected English-language text alone, with an introduction by Alan Watson.

When Justinian became sole ruler of the Byzantine Empire in A.D. 527, he ordered the preparation of three compilations of Roman law that together formed the Corpus Juris Civilis. These works have become known individually as the Code, which collected the legal pronouncements of the Roman emperors, the Institutes, an elementary student's textbook, and the Digest, by far the largest and most highly prized of the three compilations. The Digest was assembled by a team of sixteen academic lawyers commissioned by Justinian in 533 to cull everything of value from earlier Roman law. It was for centuries the focal point of legal education in the West and remains today an unprecedented collection of the commentaries of Roman jurists on the civil law.

Commissioned by the Commonwealth Fund in 1978, Alan Watson assembled a team of thirty specialists to produce this magisterial translation, which was first completed and published in 1985 with Theodor Mommsen's Latin text of 1878 on facing pages. This paperback edition presents a corrected English-language text alone, with an introduction by Alan Watson.

When Justinian became sole ruler of the Byzantine Empire in A.D. 527, he ordered the preparation of three compilations of Roman law that together formed the Corpus Juris Civilis. These works have become known individually as the Code, which collected the legal pronouncements of the Roman emperors, the Institutes, an elementary student's textbook, and the Digest, by far the largest and most highly prized of the three compilations. The Digest was assembled by a team of sixteen academic lawyers commissioned by Justinian in 533 to cull everything of value from earlier Roman law. It was for centuries the focal point of legal education in the West and remains today an unprecedented collection of the commentaries of Roman jurists on the civil law.

Commissioned by the Commonwealth Fund in 1978, Alan Watson assembled a team of thirty specialists to produce this magisterial translation, which was first completed and published in 1985 with Theodor Mommsen's Latin text of 1878 on facing pages. This paperback edition presents a corrected English-language text alone, with an introduction by Alan Watson.

A new English translation of Diodorus' history of the Greek world during the Periclean era, and an iconoclastic reappraisal of this undervalued historian by one of the world's leading Classicists.

By one of the foremost historians and translators in the field of Classics, Peter Green—an authoritative, modern translation of a long-neglected historian whose work covers the most vital century in ancient Greek history.

The first-century Roman tragedies of Seneca, like all ancient drama, do not contain the sort of external stage directions that we are accustomed to today; nevertheless, a careful reading of the plays reveals such stage business as entrances, exits, setting, sound effects, emotions of the characters, etc. The Dramaturgy of Senecan Tragedy teases out these dramaturgical elements in Seneca's work and uses them both to aid in the interpretation of the plays and to show the playwright's artistry. Thomas D. Kohn provides a detailed overview of the corpus, laying the groundwork for appreciating Seneca's techniques in the individual dramas. Each of the chapters explores an individual tragedy in detail, discussing the dramatis personae and examining how the roles would be distributed among a limited number of actors, as well as the identity of the Chorus. The Dramaturgy of Senecan Tragedy makes a compelling argument for Seneca as an artist and a dramaturg in the true sense of the word: "a maker of drama." Regardless of whether Seneca composed his plays for full-blown theatrical staging, a fictive theater of the mind, or something in between, Kohn demonstrates that he displays a consistency and a careful attentiveness to details of performance. While other scholars have applied this type of performance criticism to individual tragedies or scenes, this is the first comprehensive study of all the plays in twenty-five years, and the first ever to consider not just stagecraft, but also metatheatrical issues such as the significant distribution of roles among a limited number of actors, in addition to the emotional states of the characters. Scholars of classics and theater, along with those looking to stage the plays, will find much of interest in this study.

"A vibrant account that puts flesh on the bare bones of early Roman history." ---Celia Schultz, University of Michigan The ancient Romans' story down to 264 B.C. can be made credible by stripping away their later myths and inventions to show how their national character shaped their destiny. After many generations of scholarly study, consensus is clear: the account in writers like Livy is not to be trusted because their aims were different from ours in history-writing. They wanted their work to be both improving and diverting. It should grow out of the real past, yes, but if that reality couldn't be recovered, or was uncertain, their art did not forbid invention. It more than tolerated dramatic incidents, passions, heroes, heroines, and villains. If, however, all this resulting ancient fiction and adornment are pruned away, a national character can be seen in the remaining bits and pieces of credible information, to explain the familiar story at least in its outlines. To doubt the written sources has long been acceptable, but this or that detail or narrative section must always be left for salvage by special pleading. To press home the logic of doubt is new. To reach beyond the written sources for a better support in excavated evidence is no novelty; but it is a novelty, to find in archeology the principal substance of the narrative---which is the choice in this book. To use this in turn for the discovery of an ethnic personality, a Roman national character, is key and also novel. What is repeatedly illustrated and emphasized here is the distance traveled by the art or craft of understanding the past---"history" in that sense---over the course of the last couple of centuries. The art cannot be learned, because it cannot be found, through studying Livy and Company. Readers who care about either of the two disciplines contrasted, Classics and History, may find this argument of interest. "Like Thucydides of the hyperactive Athenians and de Tocqueville of the nation-building Americans, MacMullen here draws a character sketch of the early Romans---the men who built Rome, conquered Italy, and created an empire. Based on profound familiarity with history, evidence, and their better-known descendants, attention to what they did and failed to do, remarkable insight, empathy, constructive imagination, and not without humor, he reconstructs the homo Romanus and thus helps us imagine what he was like, and understand why he achieved what he did. This little book is informative, full of important ideas, and delightful to read." ---Kurt Raaflaub, Brown University Jacket image: Marcus Fabius and Quintus Tannius. Fresco. Musei Capitolini, Rome, Italy. Courtesy of Scala / Art Resource, NY..