On the occasion of the Centennial of the University of Chicago and its Press, we take pleasure in reissuing this complete work in a handsome four-volume slipcased edition as well as in redesigned versions of the familiar paperbacks. For the Centennial Edition two of the original translations have been replaced. In the original publication David Grene translated only one of the three Theban plays, "Oedipus the King." Now he has added his own translations of the remaining two, "Oedipus at Colonus" and "Antigone," thus bringing a new unity of tone and style to this group. Grene has also revised his earlier translation of "Prometheus Bound" and rendered some of the former prose sections in verse. These new translations replace the originals included in the paperback volumes "Sophocles I" (which contains all three Theban plays), "Aeschylus II, Greek Tragedies, Volume I, "and "Greek Tragedies, Volume III," all of which are now being published in second editions. All other volumes contain the translations of the tragedies of Aeschylus, Sophocles, and Euripides for the most part from the original versions first published in the 1940s and 1950s. These translations have been the choice of generations of teachers and students, selling in the past forty years over three million copies.

    On the occasion of the Centennial of the University of Chicago and its Press, we take pleasure in reissuing this complete work in a handsome four-volume slipcased edition as well as in redesigned versions of the familiar paperbacks. For the Centennial Edition two of the original translations have been replaced. In the original publication David Grene translated only one of the three Theban plays, Oedipus the King. Now he has added his own translations of the remaining two, Oedipus at Colonus and Antigone, thus bringing a new unity of tone and style to this group. Grene has also revised his earlier translation of Prometheus Bound and rendered some of the former prose sections in verse. These new translations replace the originals included in the paperback volumes Sophocles I (which contains all three Theban plays), Aeschylus II, Greek Tragedies, Volume I, and Greek Tragedies, Volume III, all of which are now being published in second editions. All other volumes contain the translations of the tragedies of Aeschylus, Sophocles, and Euripides for the most part from the original versions first published in the 1940s and 1950s. These translations have been the choice of generations of teachers and students, selling in the past forty years over three million copies.

    In this beautifully illustrated book—the first in almost a century devoted solely to Roman sculpture—Diana E. E. Kleiner discusses all the major public and private monuments in Rome, as well as many less well known monuments in the capital and elsewhere in the empire. She examines art commissioned by the imperial elite and by private patrons, including freedmen and slaves, and she also highlights monuments honoring women and children. Kleiner demonstrates that the social, ethnic, and geographical diversity of Roman patronage led to an art that was eclectic and characterized by varying styles, often tied to the social status of the patron. She also examines the interrelations between works produced for different kinds of patrons.Kleiner begins with a long thematic introduction that describes Rome and its empire, characterizes patrons from the capital and the provinces, discusses the position of the artist in Roman society and the materials he used, and presents a history of the study of Roman art. The remaining chapters constitute a chronological examination of Roman sculpture from the foundation of Rome in 753 B.C. to the transfer of the capital to Constantinople in A.D. 330. In each period the monuments are divided by type, for example, portraiture, state relief sculpture, the art of freedmen, and provincial art. Throughout, Kleiner treats Roman sculpture in its cultural, political, and social contexts and, wherever possible, as an element of the architectural complex in which it was set.

    Avoiding Foucault's philosophical paradigm of dominance/submission, Claude Calame uses an anthropological and linguistic approach to re-create indigenous categories of erotic love. He maintains that Eros, the joyful companion of Aphrodite, was a divine figure around which poets constructed a physiology of desire that functioned in specific ways within a network of social relations. Calame begins by showing how poetry and iconography gave a rich variety of expression to the concept of Eros, then delivers a history of the deity's roles within social and political institutions, and concludes with a discussion of an Eros-centered metaphysics.Calame's treatment of archaic and classical Greek institutions reveals Eros at work in initiation rites and celebrations, educational practices, the Dionysiac theater of tragedy and comedy, and in real and imagined spatial settings. For men, Eros functioned particularly in the symposium and the gymnasium, places where men and boys interacted and where future citizens were educated. The household was the setting where girls, brides, and adult wives learned their erotic roles--as such it provides the context for understanding female rites of passage and the problematics of sexuality in conjugal relations. Through analyses of both Greek language and practices, Calame offers a fresh, subtle reading of relations between individuals as well as a quick-paced and fascinating overview of Eros in Greek society at large.

    3000 to ca. 30 BC) -- and by medium. Throughout, it blends factual information with stimulating interpretation and juxtaposes long-standing notions with the latest archaeological discoveries and hypotheses.

    It considers bath building as one of the most significant architectural types of antiquity and bathing as a richly revealing social custom.