New Releases by Mary Beard

Mary Beard nos demuestra que los clásicos siguen impotrando ¿Qué tiene de emocionante un trozo de pan de hace 4.000 años? ¿O unas vasijas de pintura abandonadas durante la erupción de Pompeya? ¿Por qué deberíamos interesarnos por un pasado tan remoto? ¿Qué puede decirnos hoy? La vida, el arte y la literatura de la antigua Grecia y Roma no son un santuario intocable ni un club reservado a una minoría ilustrada. Tampoco son una colección de estatuas inmaculadas destinadas a la veneración. Son un territorio incómodo y fascinante a la vez. Nos obligan a cuestionar nuestras certezas, a enfrentarnos a la violencia y las contradicciones del mundo antiguo, y a mirar con otros ojos el presente. En Clásicos sin filtros Mary Beard desmonta los tópicos sobre la Antigüedad y nos invita a contemplarla sin solemnidad ni nostalgia. Recorre las conexiones —a veces sorprendentes, a veces inquietantes— entre Grecia y Roma y nuestro tiempo: desde revolucionarios hasta dictadores, de los debates sobre democracia a la cultura pop, de Bob Dylan a Beyoncé. Los clásicos no son reliquias muertas, sino un legado en disputa que sigue moldeando nuestra imaginación política y cultural. Tras más de medio siglo enseñando y estudiando el mundo clásico, Beard combina erudición, ironía y una curiosidad inagotable para recordarnos algo esencial: el pasado no está ahí para que lo veneremos, sino para que lo interroguemos. Y, al hacerlo, acabamos cuestionándonos también a nosotros mismos.

The incomparable Mary Beard is back, and she’s talking all things classics. Why the ongoing fascination with the ancient world? This witty, approachable book asks why—for better or (sometimes) worse—antiquity continues to exert such a powerful hold on the contemporary imagination. Recalling a formative childhood encounter with a four-thousand-year-old piece of bread in a museum, Beard introduces the idea of thauma, or wonder, that kick-started a lifetime engaging with classics. It was not the canonical “greats” of ancient literature and art that initially drew her in, she confesses, but rather the more intimate, messy, and humdrum evidence of daily life in the remote past. Confronting the uses and abuses of symbols of the ancient world, Beard reminds us that the traditions and “masterpieces” of Greece and Rome have certainly been politicized, but they belong to neither the left nor the right. Happily, no one owns the past. She warns us not to let a sense of reverence or overfamiliarity dampen the “shock of the old,” arguing that one of the most important things that classics teach us is how to grapple with complicated and controversial things. “The Greeks and Romans are long dead, they cannot answer back, and you can say what you like about them,” she reminds readers. “The simple fact that classics belong to none of us can offer a safe space to argue about the most difficult debates we face now.” Beard welcomes everyone into classics. “It is not compulsory to be excited by the ancient world,” she writes. “But it can be a shame not to be.” This charming, sharp, and readable book from one of the world’s most entertaining classicists offers something for both new and established fans of classics, bringing new wonder and curiosity to even the most ancient of ideas.

Der New York Times-Bestseller von Mary Beard über die römischen Kaiser - von Augustus bis Caligula, von Nero bis Commodus, der sich zum Gladiator ausbilden ließ. Nach ihrem Bestseller »SPQR«, in dem über den Senat und das Volk von Rom schreibt, erzählt die »berühmteste Althistorikerin der Welt« (The Guardian) nun über Leben, Herrschaft und Alltag der Kaiser. Sie zeigt, was es wirklich hieß, Kaiser von Rom zu sein, jenseits der wilden Geschichten über Intrigen, Orgien und Wahnsinn. Sie malt ein farbiges Bild der Kaiserzeit, voll mit dem prallen Leben. Sie schildert, wie Augustus, Nero oder Caligula die Regierungsgeschäfte führten, stellt ihren Alltag im Palatin, dem römischen Kaiserpalast, dar, ihre Aufgaben und ihr Verhältnis zum Volk. Sie macht uns mit den Ehefrauen und Geliebten des Kaisers bekannt, auch mit den Müttern wie Neros Mutter Agrippina, mit den Rivalen des Imperators, seinen Sekretären, Buchhaltern und Hofnarren bis hin zum Schuhputzer und Serviettenhalter. Wir erfahren, was der Kaiser speiste, wie er reiste, mit wem er schlief, wovor er am meisten Angst hatte. Und sie zeigt, was die einfachen Leute im Kaiser sahen, was das römische Volk von ihm erwartete. Er war nicht nur die Verkörperung ihrer Ängste, die sich in den Mythen über die grausamen Herrscher Roms widerspiegeln. Sie wandten sich an ihn in der Not und bei Konflikten und sahen in ihm den weisen Richter, der ihre Probleme löste. Mit Humor und Scharfsinn schreibt Mary Beard über die Kunst des Regierens, über Autokratie und Korruption – und revolutioniert nebenbei unser Bild von Herrschern und Beherrschten im Römischen Reich. Mit 126 zum Teil farbigen Abbildungen

A WATERSTONES BEST POLITICS BOOK OF 2024 This is an exceptional moment for democracy. In the year of elections, read Margaret Atwood, Mary Beard, Lea Ypi, Elif Shafak and more on what democracy means - and why it matters. In 2024, nearly half the world will take part in a national election, with billions heading to the polls. It''s a thrilling, unprecedented opportunity for change - yet democracy is also under threat. Women are at the forefront of the fight for democratic rights, as well as being the most vulnerable when those rights disappear. Here, eleven extraordinary women - leaders, philosophers, historians, writers and activists - explore democracy''s power to uplift our societies. Between its ancient origins and its modern challenges, they share a vision for a better future - one we can build together.

INSTANT NEW YORK TIMES BESTSELLER Best Books of 2023: New Yorker, The Economist, Smithsonian Most Anticipated Books of Fall: Washington Post, Los Angeles Times, TODAY, Literary Hub, and Publishers Weekly "A vivid way to re-examine what we know, and don’t, about life at the top.... Emperor of Rome is a masterly group portrait, an invitation to think skeptically but not contemptuously of a familiar civilization." —Kyle Harper, Wall Street Journal A sweeping account of the social and political world of the Roman emperors by “the world’s most famous classicist” (Guardian). In her international bestseller SPQR, Mary Beard told the thousand-year story of ancient Rome, from its slightly shabby Iron Age origins to its reign as the undisputed hegemon of the Mediterranean. Now, drawing on more than thirty years of teaching and writing about Roman history, Beard turns to the emperors who ruled the Roman Empire, beginning with Julius Caesar (assassinated 44 BCE) and taking us through the nearly three centuries—and some thirty emperors—that separate him from the boy-king Alexander Severus (assassinated 235 CE). Yet Emperor of Rome is not your typical chronological account of Roman rulers, one emperor after another: the mad Caligula, the monster Nero, the philosopher Marcus Aurelius. Instead, Beard asks different, often larger and more probing questions: What power did emperors actually have? Was the Roman palace really so bloodstained? What kind of jokes did Augustus tell? And for that matter, what really happened, for example, between the emperor Hadrian and his beloved Antinous? Effortlessly combining the epic with the quotidian, Beard tracks the emperor down at home, at the races, on his travels, even on his way to heaven. Along the way, Beard explores Roman fictions of imperial power, overturning many of the assumptions that we hold as gospel, not the least of them the perception that emperors one and all were orchestrators of extreme brutality and cruelty. Here Beard introduces us to the emperor’s wives and lovers, rivals and slaves, court jesters and soldiers, and the ordinary people who pressed begging letters into his hand—whose chamber pot disputes were adjudicated by Augustus, and whose budgets were approved by Vespasian, himself the son of a tax collector. With its finely nuanced portrayal of sex, class, and politics, Emperor of Rome goes directly to the heart of Roman fantasies (and our own) about what it was to be Roman at its richest, most luxurious, most extreme, most powerful, and most deadly, offering an account of Roman history as it has never been presented before.

Hogyan fest a hatalom arca? Kit örökít meg a művészet, és miért? Hogyan tekintünk olyan politikusok szobrára, akiket emberként megvetünk? Ebben a könyvben Mary Beard – a mai emlékműszobrászatot övező esztétikai és politikai csetepaték háttere előtt – elmeséli, hogy az elmúlt kétezer év folyamán a nyugati világ hatalmasainak arcmásait hogyan befolyásolta a római császárok ábrázolása. A világhírű ókortörténész, az SPQR és a Pompeji című könyvek szerzője főképpen a „tizenkét cézár” – Julius Caesar és az első tizenegy császár – alakjára összpontosítva elemzi, hogy ezek a könyörtelen autokraták miképpen váltak hatalmassá az antik, a reneszánsz és az újkori művészetben is. E gazdagon illusztrált kötet kétezer éves utazásra kalauzol a művészet- és művelődéstörténet világában. Szobrászok és festők alkotásai mellett találkozhatunk ötvösök, kárpitszövők, rézmetszők, műbútorasztalosok és keramikusok munkáival is, továbbá számos meglepő történetet olvashatunk alakok véletlen vagy szándékos félreazonosításáról, hamisításról, az erő, az uralom többértelmű reprezentációjáról. A Tizenkét császár mindemellett izgalmas detektívtörténet a hatalom ábrázolásának leginkább nyugtalanító és állásfoglalásra késztető példáiról.

Qual é a face do poder? Quem será celebrado pela arte, e por quê? E como reagir a estátuas de governantes que deploramos? Neste livro assombroso — escrito em meio a um questionamento global sobre esculturas políticas —, Mary Beard conta a história de como, ao longo de mais de 2 mil anos, os ricos, famosos e poderosos foram retratados aos moldes dos imperadores romanos, do brutal Júlio César ao torturador de moscas Domiciano. Doze Césares faz uma pergunta fundamental: por que esses assassinos autocratas impactaram tanto a arte, do Renascimento aos dias de hoje, quando líderes ainda são retratados à maneira de Nero, tocando seu violino enquanto Roma queima? O ponto de partida é a própria importância do retrato imperial para a sociedade romana e o que ele significava para a política da época. Como uma detetive, Mary Beard investiga a difusão dessas imagens ao longo de dois milênios e mostra em que medida elas se transformaram e foram adaptadas para atender aos mais diversos desígnios. Doze Césares revela um mundo de apropriações indevidas, identidades trocadas, falsificações e representações ambivalentes do poder. Numa era dominada por imagens, Mary Beard segue o fio de séculos de construção da autoridade política por meio de retratos e esculturas.

Mary Beard y John Henderson nos descubren en este libro el mundo antiguo de Grecia y Roma como nunca lo habíamos imaginado, con sus esculturas pintadas de brillantes colores y sus edificios totalmente decorados con frescos y mosaicos. Su análisis, revelador y emocionante, recorre las delicadas pinturas de las villas pompeyanas, aventura cómo debieron ser las estatuas en todo su esplendor cromático, revela cuál era el sentido de la desnudez femenina en el mundo clásico y nos sorprende con la utilidad que tuvieron los monumentos. Así, nos demuestra cómo las innovaciones artísticas de la Antigüedad se han convertido hoy en las convenciones de nuestra cultura. Nuevo prólogo a esta edición de Mary Beard

¿Qué hacía reír a los romanos? ¿Cómo entendían la risa? ¿Era la Antigua Roma una sociedad donde se prodigaban las bromas y los chistes? ¿O era una cultura cuidadosamente regulada en la que los excesos incontenibles de la risa suponían una fuerza a la que temer con su mundo de complicidades, ingenio mordaz e ironía? ¿Qué papel jugaba la risa en el mundo de los tribunales de justicia, el palacio imperial o los espectáculos circenses? La conocida historiadora Mary Beard, Premio Princesa de Asturias de Ciencias Sociales en 2016, analiza uno de los temas históricos más complejos: de qué y cómo se reían los antiguos romanos. Ha basado su investigación sobre una amplia variedad de escritos de la época, que van de ensayos sobre retórica a la primera antología de chistes, Philogelos, algunos de los cuales ilustran su análisis a lo largo del libro. Aunque cada sociedad y tiempo tienen su propio sentido del humor, el libro de Mary Beard nos lleva a la conclusión de que el de los romanos no nos es ajeno. Se aprecia una cierta continuidad entre su sentido del humor y el nuestro, ya que los antiguos romanos tenían un concepto del chiste tal y como se entiende hoy en día en Europa. Es decir, que además del Derecho Romano, las lenguas latinas y todo lo que hemos heredado de la Antigua Roma, tenemos un elemento más que nos ha venido de los romanos, la idea de "chiste" moderno y, con éste, un peculiar y compartido sentido del humor. (Fotografía de la autora: © Charlie Bryan / Avalon / ContactoPhoto)

Mary Beard no es solo la clasicista más famosa a nivel internacional; es también una feminista comprometida y como tal se manifiesta asiduamente en las redes sociales. En este libro muestra, con ironía y sabiduría, cómo la historia ha tratado a las mujeres y personajes femeninos poderosos. Sus ejemplos van desde el mundo clásico hasta el día de hoy, desde Penélope, Medusa o Atenea hasta Theresa May y Hillary Clinton. Beard explora los fundamentos culturales de la misoginia, considerando la voz pública de las mujeres, nuestras suposiciones culturales sobre la relación de las mujeres con el poder y cuánto se resisten las mujeres poderosas a ser sometidas a un patrón masculino. Con reflexiones personales sobre sus propias experiencias de sexismo y agresión de género que ha soportado en las redes sociales, la autora pregunta: si no se percibe que las mujeres están dentro de las estructuras del poder, ¿no es necesario redefinir el poder?

From the bestselling author of SPQR: A History of Ancient Rome, the fascinating story of how images of Roman autocrats have influenced art, culture, and the representation of power for more than 2,000 years What does the face of power look like? Who gets commemorated in art and why? And how do we react to statues of politicians we deplore? In this book—against a background of today’s “sculpture wars”—Mary Beard tells the story of how for more than two millennia portraits of the rich, powerful, and famous in the western world have been shaped by the image of Roman emperors, especially the “Twelve Caesars,” from the ruthless Julius Caesar to the fly-torturing Domitian. Twelve Caesars asks why these murderous autocrats have loomed so large in art from antiquity and the Renaissance to today, when hapless leaders are still caricatured as Neros fiddling while Rome burns. Beginning with the importance of imperial portraits in Roman politics, this richly illustrated book offers a tour through 2,000 years of art and cultural history, presenting a fresh look at works by artists from Memling and Mantegna to the nineteenth-century American sculptor Edmonia Lewis, as well as by generations of weavers, cabinetmakers, silversmiths, printers, and ceramicists. Rather than a story of a simple repetition of stable, blandly conservative images of imperial men and women, Twelve Caesars is an unexpected tale of changing identities, clueless or deliberate misidentifications, fakes, and often ambivalent representations of authority. From Beard’s reconstruction of Titian’s extraordinary lost Room of the Emperors to her reinterpretation of Henry VIII’s famous Caesarian tapestries, Twelve Caesars includes fascinating detective work and offers a gripping story of some of the most challenging and disturbing portraits of power ever created. Published in association with the Center for Advanced Study in the Visual Arts, National Gallery of Art, Washington, DC

How are great turning points in history experienced by individuals? As Britain pulls away from Europe great British writers come together to give voice to their innermost feelings. These writers include novelists, writers of books for children, of comic books, humourists, historians, biographers, nature writers, film writers, travel writers, writers young and old and from an extraordinary range of backgrounds. Most are famous perhaps because they have won the Booker or other literary prizes, written bestsellers, changed the face of popular culture or sold millions of records. Others are not yet household names but write with depth of insight and feeling. There is some extraordinary writing in this book. Some of these pieces are expressions of love of particular places in Europe. Some are true stories, some nostalgic, some hopeful. Some are cries of pain. There are hilarious pieces. There are cries of pain and regret. Some pieces are quietly devastating. All are passionate. Conceived as a love letter to Europe, this book may also help reawaken love for Britain. It shows the unique richness and diversity of British cultures, a multitude of voices in harmony. Contributors include: Hugh Aldersey-Williams, Philip Ardagh, Jake Arnott, Patricia Atkinson, Paul Atterbury, Richard Beard, Mary Beard, Don Boyd, Melvyn Bragg, Gyles Brandreth, Kathleen Burke, James Buxton, Philip Carr, Brian Catling, Shami Chakrabarti, Chris Cleave, Mark Cocker, Peter Conradi , Heather Cooper, Frank Cottrell-Boyce, Roger Crowley, David Crystal, William Dalrymple, Lindsey Davies, Margaret Drabble, Mark Ellen, Richard Evans, Michel Faber, Sebastian Faulks, Ranulph Fiennes, Robert Fox, James Fox, Neil Gaiman, Evelyn Glennie, James Hanning, Nick Hayes, Alan Hollinghurst, Gabby Hutchinson-Crouch, Will Hutton, Robert Irwin, Holly Johnson , Liane Jones, Ruth Jones, Sam Jordison, Kapka Kassabova, AL Kennedy, Hermione Lee, Prue Leith, Patrick Lenox, Roger Lewis, David Lindo, Penelope Lively, Beth Lync, Richard Mabey, Sue MacGregor, Ian Martin, Frank McDonough, Jonathan Meades, Andrew Miller, Deborah Moggach, Ben Moor, Alan Moore, Paul Morley, Jackie Morris, Charles Nicholl, Richard Overy, Chris Riddell, Adam Roberts, Tony Robinson, Lee Rourke, Sophie Sabbage, Marcus Sedgwick, Richard Shirreff, Paul Stanford, Isy Suttie, Sandi Toksvig, Colin Tudge, Ed Vulliamy, Anna Whitelock, Kate Williams, Michael Wood, Louisa Young

「古羅馬，很重要！」 一部寫給當代的全方位羅馬史 全球翻譯超過23種語言，跨越漫漫歷史長河的耀眼帝國，榮光不滅！ 當代歷史學界超級巨星，全球矚目的劍橋教授瑪莉‧畢爾德隆重鉅作 「我們書寫與觀看這世界的角度，還有我們在這世界上的生存方式都還深深受羅馬影響。」──瑪莉‧畢爾德 羅馬離我們有多遙遠？ 知名歷史學者瑪莉‧畢爾德告訴我們：羅馬其實離我們很近，近得讓人訝異。羅馬人雖然已逝，但留給我們許多影響現代社會的概念，包括自由、公民、帝國的剝削，還有一整套現代政治的語言。它的興起與衰頹更成為我們的借鑑，不時提點我們「獨斷專行的盡頭，就是恐怖統治的開始」。要說我們現在身處的世界框架，泰半是羅馬人建立的也不為過。 羅馬帝國的崛起與擴張，是持續吸引人們目光長達百年的謎團，更是現代世界發展的重要里程碑。鑽研羅馬的歷史，是在探詢人類文明一頁華麗的轉折。 畢爾德筆下的羅馬像複雜的萬花筒，絢麗、能量十足，同時又矛盾且衝突頻仍，而這個偉大帝國的生命力，正是來自這些不斷流動、消長的力量。羅馬人野蠻又文明、暴力又寬容、唯我獨尊又海納不同文化。這麼一個受萬千後世吹捧、研究、敬畏的大帝國羅馬，在最初不過是義大利中部一座不起眼的小小村鎮──羅馬人究竟是怎麼做到這一切的？羅馬究竟是怎麼造就的？探詢這包羅萬象的帝國，像是在探究西方文明轉變的契機、人類文明的奧秘。 世界上沒有哪個帝國像羅馬，它從未死去，而是成為了後世探詢文明源頭的沃土。羅馬的歷史不只是眾多史書紙上的一頁，它始終在書寫中，活生生、從未完成、永遠有新鮮發現。 各界推薦 若當時有畢爾德相伴，羅馬人肯定能繼續保有他們的帝國。 ──《每日郵報》（Daily Mail） 一部精湛的編年大作……流行歷史作品的典範，引人入勝而不流於淺薄，展現宏大的敘述和深入的細節，生動地讓遙遠的過去活了過來。 ──《經濟學人》（The Economist） 畢爾德寫出了很少普及作家敢嘗試、許多人無法成就的作品……她揭示了古羅馬人在權力、公民權、帝國與身分認同問題上的掙扎，就和好幾世紀之後的人們一樣。 ──《大西洋雜誌》（The Atlantic） 在這本精彩、簡明的歷史著作中，畢爾德乾淨俐落、冷靜而明晰地揭開了這座城市大獲成功的祕密，無人能出其右。 ──《紐約時報書評》（New York Times Book Review） 畢爾德這本書不僅探索了古老、共和的羅馬帝國，還有最終被帝國掌控的東部與西部省分……她輕鬆、熟練的運用了考古學、貨幣學、語言學，當然還有寫於石塊與莎草紙上豐富的紀錄。 ──《紐約時報書評》（New York Review of Books） 畢爾德精確、明晰地闡述了整個故事，充滿熱情並毫無艱澀難讀之處……本書勘比令人敬畏的成功故事，而講述它的人有著絕佳的天賦。 ──《華爾街日報》（Wall Street Journal） 即便畢爾德自謙稱是五十年的積累與研究造就了這本書，她自己只是輕鬆地於其中做學問而已。但當她領我們走過羅馬公民留下痕跡的妓院、酒吧和小巷道時，我們首先感覺到的是她全然樂在其中。 ──《新共和雜誌》（New Republic） 畢爾德用輕快的語調掩蓋了敘述背後嚴峻的學術壓力。她不希望讀者向羅馬人學習如何生活，也不希望有任何類似的陳腔濫調。她希望我們與羅馬人交流。 ──《衛報》（The Guardian） 作者在審視羅馬人對自己的史學和政治理論時，無疑是最強而有力的。她明晰、反覆地說明羅馬人對百年前發生之事的描述，如何無可避免地反映了他們當下的觀點和關注。對偉大命運的想法、契約的傳統，甚至是共和整體的基本制度，都被羅馬人投射到他們城市興起的早期，接著用來解釋當下的情況。 ──《金融時報》（Financial Times） 瑪莉．畢爾德可能是唯一一位可以超越她著作開天闢地第一句話「古羅馬很重要」的人。如果這句話來自一個不稱頭的人物，顯然會很無聊，但同一句話由畢爾德寫下，就是一個充滿自信的提醒，告訴大家：留心這段歷史，在這之中產生的問題和疑問，至今仍存。 ──《時代雜誌》（Time） 畢爾德的天才之處在於單獨使用SPQR作現代闡述，而非直接以古喻今，指出二十一世紀政治與爭議與古早時期的相似之處。她的這本書因此不只提供了對羅馬歷史的見解，也提供了對當時代所面臨的挑戰的見解。 ──《外交政策雜誌》（Foreign Affairs）

Un portret extraordinar şi incitant al unui oraş din Antichitate, al vieţii cotidiene în acele locuri şi timpuri îndepărtate, şi o perpetuă redescoperire a acestuia din perspectiva unuia dintre cei mai cunoscuţi şi apreciaţi clasicişti contemporani „Dacă vreţi să ştiţi ce s-a întâmplat cu adevărat în ultimele zile de viaţă ale oraşului pietrificat, meticuloasa reconstrucţie oferită de Beard este exact lucrul de care aveţi nevoie. Pe măsură ce o parcurgeţi, veţi scăpa de multe dintre ideile preconcepute, iar scriitura ei evocatoare va avea darul să vă transporte înapoi în timp." – The Guardian „În domeniul atât de vast al scrierilor despre Pompeii, Mary Beard aduce o tuşă de umanitate… Această relatare captivantă, iscoditoare şi plină de afecţiune a vieţii pompeiene se constituie într-un model de gen. Autoarea revelează esenţa lucrurilor, care a fost şi rămâne, în vieţile noastre de azi, neschimbată." – The Times „Foarte uşor de citit şi minunat documentată… Beard are un stil pătrunzător şi accesibil, care face din această carte o incursiune obligatorie în istoria antică." – Observer Premiul Wolfson pentru istorie 2008 Ruinele de la Pompeii, oraşul roman îngropat sub lava şi cenuşa Vezuviului în urma erupţiei catastrofale din anul 70 e.n., oferă cele mai bune mărturii pe care le avem astăzi la dispoziție despre viaţa cotidiană din Imperiul Roman. Această carte remarcabilă se ridică la înălţimea provocării de a scoate la iveală și a face înţelese vestigiile acelei lumi şi de a spulbera multe mituri: data propriu-zisă a erupţiei, survenită probabil câteva luni mai târziu decât se crede în mod obişnuit; igiena termelor, care trebuie să fi fost adevărate focare de microbi; legendarul număr de bordeluri, care se rezuma, mai mult ca sigur, doar la unul; sau pierderile masive de vieţi omeneşti, care n-au depăşit, probabil, o zecime din populaţia oraşului. „Cu o erudiție minuțioasă și o energie explozivă, cea mai iconoclastă clasicistă a lumii ne demontează miturile cu aură cinematografică despre acest oraș roman..." – Laura Silverman, Daily Mail

Met wrange humor begeeft Mary Beard, de beroemdste classicus van het Verenigd Koninkrijk, zich in de genderdiscussie. Ze toont ons hoe in de geschiedenis machtige vrouwen behandeld zijn. Haar voorbeelden komen uit de klassieke oudheid en het hier en nu, en ze leggen de culturele pijlers onder een eeuwigdurende misogynie bloot. Ze bespreekt de stem van vrouwen in het maatschappelijk debat en bevraagt onze aannames omtrent de manier waarop vrouwen met macht omgaan. En hoe komt het dat zo weinig machtige vrouwen aan een mannelijk rolmodel weten te ontsnappen? Naar aanleiding van haar persoonlijke online-ervaringen op het gebied van seksisme en agressie vraagt Mary Beard zich af: als vrouwen niet zichtbaar zijn binnen onze machtsstructuren, is het dan niet de macht die we moeten omvormen?

Das Buch zur großen Debatte um Feminismus, Gleichberechtigung und #MeToo, Spiegel-Bestseller und Nr. 1-Bestseller in Großbritannien: Mary Beard, Cambrige-Professorin für Alte Geschichte, ist eine der bekanntesten Intellektuellen weltweit. Mit Humor und Scharfsinn erzählt sie, wie mächtige Frauen im Laufe der Geschichte behandelt und gesehen wurden, von Medusa und Athene bis zu Angela Merkel. Und zeigt, wie Frauen vor allem daran gehindert wurden und werden, Macht zu erlangen. Ein leidenschaftlicher Aufruf an Frauen, sich jetzt die Macht zu nehmen und nicht auf die nächste #MeToo-Debatte zu warten! Immer wieder mischt sich Mary Beard leidenschaftlich und streitbar in aktuelle Diskussionen ein. Frauenfeindlichkeit und Sexismus sind Themen, die sie seit langem begleiten – auch persönlich – und die anzuprangern sie nicht müde wird. »Ein kraftvolles Manifest.« New York Times »Ein moderner feministischer Klassiker.« The Observer »Mary Beard zeigt, wie Frauenfeindlichkeit funktioniert und warum sie sich so hartnäckig hält.« The Guardian »Ein unwiderstehlicher Aufruf an Frauen, sich zu Wort zu melden, Macht zu nutzen und neu zu definieren.« People Magazine

Quando nell''Odissea omerica Penelope chiede a Femio, l''aedo, di cantare qualcosa di meno triste del periglioso ritorno da Troia degli eroi achei, l''imberbe Telemaco interviene bruscamente, invitando la madre a rientrare nelle proprie stanze e ricordandole che «la parola spetta agli uomini». Per quanto saggia e matura, Penelope china il capo di fronte al figlio e si ritira in silenzio. All''alba della tradizione letteraria dell''Occidente, questo è il primo esempio di un uomo che ordina a una donna di tacere e di uscire di scena. Da Aristofane a Ovidio, da Valerio Massimo a Plutarco ne seguiranno altri, a dimostrazione di come, fin dall''antichità classica, alle donne sia stato sottratto il diritto di parola, e insieme a esso la possibilità di accedere al discorso pubblico. Negata e svilita, derisa e temuta, la voce femminile è stata ridotta al silenzio, un silenzio, però, che a distanza di secoli sembra gravare ancora sulla volontà delle donne di essere ascoltate, prese sul serio, considerate per le loro capacità e competenze. Un silenzio a cui gli uomini sembrerebbe non intendano rinunciare, se solo pensiamo alle ingiurie e alle intimidazioni di cui le donne sono fatte oggetto - nel web come nella politica o nella cultura - non per ciò che dicono ma per il semplice fatto di voler parlare. Evidentemente, nella radicale alterità della loro voce, «differente» e per questo foriera di una diversa concezione del mondo, si avverte ancora l''eco di quel pericolo che il mondo greco paventava, quando, nelle figure tragiche di Medea, di Antigone o di Clitennestra - per citarne solo alcune -, scorgeva una reale minaccia per la polis, la comunità, l''ordine costituito. In Donne e potere Mary Beard riannoda i fili che, ancora una volta, ci legano alla Grecia e alla Roma antiche, per dimostrare quanto siano profondi i meccanismi che impongono alle donne il silenzio e quanto sia alto il prezzo che esse devono pagare per rivendicare la libertà di parola.

Since civilisation began, we have attempted to understand what it means to be human - be it through art, language, culture, or religion. Our understanding is most often split between two different interpretations of the self: as a physical being and spiritual one.0Here, Professor Mary Beard lends a helping hand, mapping the progression of our understanding through the history of art and religion in civilisations. Focusing on the arrival of the human figure as a physical subject of art, Mary Beard examines the history of beauty. Beginning with the Jericho painted skulls from 10,000 years ago, and spanning the globe.0Mary then focuses on how art enabled large and complex societies to organise themselves through religion. The power of Christianity in Europe is examined through the glittering Byzantine mosaics at Ravenna, the exquisite calligraphy of Islamic art shows how aniconic art and the removal (largely) of the human figure pointed to a different way of conveying the divine and how each piece describes the spiritual harmony of ''heaven and earth''.0Mary examines in depth the creativity that gave identity to great civilisations, past and present.

New York Times Bestseller One of the Guardian''s "100 Best Books of the 21st Century" — "A modern feminist classic." From the internationally acclaimed classicist and New York Times best-selling author comes this timely manifesto on women and power. At long last, Mary Beard addresses in one brave book the misogynists and trolls who mercilessly attack and demean women the world over, including, very often, Mary herself. In Women & Power, she traces the origins of this misogyny to its ancient roots, examining the pitfalls of gender and the ways that history has mistreated strong women since time immemorial. As far back as Homer’s Odyssey, Beard shows, women have been prohibited from leadership roles in civic life, public speech being defined as inherently male. From Medusa to Philomela (whose tongue was cut out), from Hillary Clinton to Elizabeth Warren (who was told to sit down), Beard draws illuminating parallels between our cultural assumptions about women’s relationship to power—and how powerful women provide a necessary example for all women who must resist being vacuumed into a male template. With personal reflections on her own online experiences with sexism, Beard asks: If women aren’t perceived to be within the structure of power, isn’t it power itself we need to redefine? And how many more centuries should we be expected to wait?

Trieste Publishing has a massive catalogue of classic book titles. Our aim is to provide readers with the highest quality reproductions of fiction and non-fiction literature that has stood the test of time. The many thousands of books in our collection have been sourced from libraries and private collections around the world.The titles that Trieste Publishing has chosen to be part of the collection have been scanned to simulate the original. Our readers see the books the same way that their first readers did decades or a hundred or more years ago. Books from that period are often spoiled by imperfections that did not exist in the original. Imperfections could be in the form of blurred text, photographs, or missing pages. It is highly unlikely that this would occur with one of our books. Our extensive quality control ensures that the readers of Trieste Publishing''s books will be delighted with their purchase. Our staff has thoroughly reviewed every page of all the books in the collection, repairing, or if necessary, rejecting titles that are not of the highest quality. This process ensures that the reader of one of Trieste Publishing''s titles receives a volume that faithfully reproduces the original, and to the maximum degree possible, gives them the experience of owning the original work.We pride ourselves on not only creating a pathway to an extensive reservoir of books of the finest quality, but also providing value to every one of our readers. Generally, Trieste books are purchased singly - on demand, however they may also be purchased in bulk. Readers interested in bulk purchases are invited to contact us directly to enquire about our tailored bulk rates.

Im Jahr 79 n. Chr. regnete glühende Asche auf Pompeji nieder. Lava überflutete Menschen, Tiere und Gebäude – und konservierte sie für die Ewigkeit. Jahrhunderte später ist Pompeji eine der wichtigsten Fundstätten der Archäologie. Die weltweit bekannte Historikerin Mary Beard nimmt uns mit auf einen faszinierenden Spaziergang durch die Geschichte Pompejis. Sie schildert, wie die Menschen dort gelebt und geliebt haben, beschreibt Häuser, Kneipen und Gärten, Kunstwerke und Dinge des Alltags. Zugleich entlarvt sie die Irrtümer, die Forschern immer wieder unterliefen, und zeigt, wie es wirklich war. Mit jedem faszinierenden Rätsel, das sie dabei präsentiert, wächst die Sehnsucht, diesen Ort mit eigenen Augen zu sehen. »Pompeji« wurde 2008 mit dem renommierten Wolfson History Prize ausgezeichnet. »Dieses fantastische Buch ... ist ein Vorbild für ebenso scharfsinniges wie spannendes Erzählen über die Vergangenheit.« The Guardian

Durante muito tempo, Pompeia foi uma próspera cidade do Império Romano, até ser devastada, em 79 d.C., por uma das maiores erupções do Vesúvio de que se tem notícia. Ao longo dos anos que se seguiram, e ainda hoje, questões sobre seus habitantes e o estilo de vida que levavam até o fatídico dia em que a cidade sucumbiu à fúria do vulcão povoam a mente de estudiosos e leigos. A especialista em classicismo Mary Beard vai além das questões mais corriqueiras, aprofunda-se em detalhes muitas vezes negligenciados, questiona posições já consagradas por arqueólogos de diversas épocas e desmistifica inúmeros fatos relacionados ao cotidiano daquela população. Com centenas de ilustrações, mapas, plantas baixas e fotografias, este livro conduz o leitor a um mergulho no dia a dia da cidade, em uma viagem pelas ruas e casas desta cidade romana.

Die Autoren dieses Bandes berichten sehr unterhaltsam, unterstützt durch Abbildungen und Cartoons, von dem Entdeckerspaß der Altertumswissenschaftler, aber auch von den Problemen, vor die sie sich bei ihrer Forschung gestellt sehen. Dabei geht es um Kunstraub genauso wie um große Theorien, um moderne Techniken wie um das Beherrschen der alten Sprachen, um das Puzzlespiel der Rekonstruktion wie um das Bild des Altertums im Wandel der Jahrhunderte. Ausgangspunkt sind vereinzelte Stücke eines antiken griechischen Tempels - des Tempels von Bassai -, ausgestellt im Britischen Museum, im Herzen des modernen London.

What made the Romans laugh? Was ancient Rome a carnival, filled with practical jokes and hearty chuckles? Or was it a carefully regulated culture in which the uncontrollable excess of laughter was a force to fear—a world of wit, irony, and knowing smiles? How did Romans make sense of laughter? What role did it play in the world of the law courts, the imperial palace, or the spectacles of the arena? Laughter in Ancient Rome explores one of the most intriguing, but also trickiest, of historical subjects. Drawing on a wide range of Roman writing—from essays on rhetoric to a surviving Roman joke book—Mary Beard tracks down the giggles, smirks, and guffaws of the ancient Romans themselves. From ancient "monkey business" to the role of a chuckle in a culture of tyranny, she explores Roman humor from the hilarious, to the momentous, to the surprising. But she also reflects on even bigger historical questions. What kind of history of laughter can we possibly tell? Can we ever really "get" the Romans’ jokes?

A National Book Critics Circle Award finalist, this is “the perfect introduction to classical studies, and deserves to become something of a standard work” (Observer). Mary Beard, drawing on thirty years of teaching and writing about Greek and Roman history, provides a panoramic portrait of the classical world, a book in which we encounter not only Cleopatra and Alexander the Great, Julius Caesar and Hannibal, but also the common people—the millions of inhabitants of the Roman Empire, the slaves, soldiers, and women. How did they live? Where did they go if their marriage was in trouble or if they were broke? Or, perhaps just as important, how did they clean their teeth? Effortlessly combining the epic with the quotidian, Beard forces us along the way to reexamine so many of the assumptions we held as gospel—not the least of them the perception that the Emperor Caligula was bonkers or Nero a monster. With capacious wit and verve, Beard demonstrates that, far from being carved in marble, the classical world is still very much alive.

Byron and Hitler were equally entranced by Rome’s most famous monument, the Colosseum. Mid-Victorians admired the hundreds of varieties of flowers in its crannies and occasionally shuddered at its reputation for contagion, danger, and sexual temptation. Today it is the highlight of a tour of Italy for more than three million visitors a year, a concert arena for the likes of Paul McCartney, and a national symbol of opposition to the death penalty. Its ancient history is chock full of romantic but erroneous myths. There is no evidence that any gladiator ever said “Hail Caesar, those about to die...” and we know of not one single Christian martyr who met his finish here. Yet the reality is much stranger than the legend as the authors, two prominent classical historians, explain in this absorbing account. We learn the details of how the arena was built and at what cost; we are introduced to the emperors who sometimes fought in gladiatorial games staged at the Colosseum; and we take measure of the audience who reveled in, or opposed, these games. The authors also trace the strange afterlife of the monument—as fortress, shrine of martyrs, church, and glue factory. Why are we so fascinated with this arena of death?

Her central themes are the classics, universities and teaching - and much else besides. In this second collection following on from the success of It''s a Don''s Life, Beard ponders whether Gaddafi''s home is Roman or not, we share her ''terror of humiliation'' as she enters ''hairdresser country'' and follow her dilemma as she wanders through the quandary of illegible handwriting on examination papers and ''longing for the next dyslexic'' - on whose paper the answers are typed, not handwritten. Praise for It''s a Don''s Life ''Delightful... it has the virtues of brevity, eclecticism and learning worn lightly... if they''d had Mary Beard on their side back then, the Romans would still have their empire'' Daily Mail

The ruined silhouette of the Parthenon on its hill above Athens is one of the world''s most famous images. Its ''looted'' Elgin Marbles are a global cause celebre. But what actually are they? In a revised and updated edition, Mary Beard, award winning writer, reviewer and leading Cambridge classicist, tells the history and explains the significance of the Parthenon, the temple of the virgin goddess Athena, the divine patroness of ancient Athens.