The present publication constitutes the Proceedings of Session 7 of the ‘Creation of landscapes VI’ workshop, hosted by the CAU Kiel in 2019. The session was entitled ‘Mediterranean Connections – how the sea links people and transforms identities’.With our focus on the linkage of people, this volume can be understood as a contribution to recent network research. But network research, especially when employed in the humanities, is often looked at with scepticism, not to say mistrust: Isn’t this just a game with numbers? Does it really relate to the type of data we are used to in our research, to poems, sherds or seal impressions? Can it say anything at all about… life?In fact, the various articles of this volume are not restricted to the strict technical approach of classical network research. Our session on Mediterranean networks started from the idea that for the inhabitants of this relatively integrated region, the sea evidently influenced their lives and their thinking in a significant way. In fact, it was the sea that provided the medium for such integration on various levels. The substantial body of data produced by long-standing research in diverse disciplines makes it possible to chart the emergence of ancient perceptions of distance and movement, connectivity and identities. This approach allows us to observe ancient awareness of the role of the sea in these processes. It also allows us to connect across academic boundaries and build a network of disciplines for a much more cohesive picture of past life.

This book brings together an international team of scholars to re-evaluate Roman-period architecture outside Rome and the Italian Peninsula, looking at the regions that formed part of the Roman Empire over a broad time frame: from the 2nd century BCE to the 3rd century CE. Moving beyond traditional views of ‘Roman provincial architecture’, they highlight the multi-faceted features of these architectures, their function, impact and significance within the local cultures, and the dynamic discourse between periphery and centre. Architecture is intended in the broad sense of the term, encompassing the buildings’ technological components as well as their ornamental and epigraphic apparatuses. The geographic framework under examination is a broad one: along with well-documented areas of the ancient Mediterranean, attention is also paid to the territories of north-west Europe. The discussion throughout the volume focuses on three interrelated themes – models, agency, and reception. The broader scope of these essays gives a reinvigorated impetus to the scholarly debate on the role and influence of ancient architectures beyond the centre of Empire. The book has a strong interdisciplinary character, reflecting the authors’ diverse expertise in the fields of archaeology, architecture, ancient history, art and architectural history.

This book casts light on a much neglected phase of the UNESCO world heritage site of Palmyra, namely the period between the fall of the Palmyrene ‘Empire’ (AD 272) and the end of the Umayyad dominion (AD 750). The goal of the book is to fill a substantial hole in modern scholarship - the late antique and early Islamic history of the city still has to be written. In late antiquity Palmyra remained a thriving provincial city whose existence was assured by its newly acquired role of stronghold along the eastern frontier. Palmyra maintained a prominent religious role as one of the earliest bisphoric see in central Syria and in early Islam as the political center of the powerful Banu Kalnb tribe. Post-Roman Palmyra, city and setting, provide the focus of this book. Analysis and publication of evidence for post-Roman housing enables a study of the city’s urban life, including the private residential buildings in the sanctuary of Ba’alshamin. A systematic survey is presented of the archaeological and literary evidence for the religious life of the city in Late Antiquity and Early Islam. The city’s defenses provide another focus. After a discussion of the garrison quartered in Palmyra, Diocletian’s military fortress and the city walls are investigated, with photographic and archaeological evidence used to discuss chronology and building techniques. The book concludes with a synthetic account of archaeological and written material, providing a comprehensive history of the settlement from its origins to the fall of Marwan II in 750 AD.

The volume in hand throws light on historical encounters with troubled pasts in contemporary Dutch and Greek historiography. Contributors, experts in their respective research fields with a wide range of scholarly publications, eschew dominant national accounts, deconstruct top-down narratives, and situate the historical subject(s) at the centre of the analysis. Troubled pasts are the outcome of local, national and international conflicts, of the continuous quest for growth and dominance, of Colonialism and Great Power rivalry, of ideologically-motivated purges, of Genocide, of National Liberation Struggles, and of Civil Wars. They go hand-in-hand with a great deal of human suffering and horrendous atrocities against civilians on ethnic, religious, racial and political grounds. The examination of troubled pasts and their accompanying imagery raise enduring questions: Whose past is remembered? How is the past appropriated and memorialised? Which pasts are at best neglected, at worst silenced - and why? Encounters with Troubled Pasts addresses such issues by reference to Dutch colonialism in the New World and South East Asia, the Greek campaign in Asia Minor, the Shoah and its aftermath in Greece and the Netherlands, the Greek Civil War of the 1940s, Transitional Justice in Post-Soviet Russia and the Massacre of Srebrenica. It will be of interest to postgraduate students and academics working on Colonialism, the Shoah, modern Dutch and Greek History, Memory and on Oral History.

Tom de Freston (born 1983) is a British artist and writer, living and working in Oxford. He graduated from Cambridge University in 2007. De Freston’s multimedia art tackles themes of trauma, humanity and intimacy across paintings, films and performance. He builds rich visual narratives, drawing on literature, art history and social issues. A prolific author, Granta published de Freston’s debut non-fiction book, Wreck, in 2022 and his second will be released in 2024. Julia and the Shark (Hachette, 2021), created with his wife Kiran Millwood Hargrave, won the Waterstones Children’s Gift of the Year and was shortlisted for the Wainwright Prize for Children’s Writing on Nature and Conservation. De Freston was chosen to illustrate the twenty-fifth-anniversary edition of David Almond’s Skellig, published in 2023.I Saw This was born out of a collaboration between de Freston, filmmaker Mark Jones and Dr Ali Souleman after de Freston was introduced to the academic in 2017. The paintings and mixed-media works that resulted from the project are an exploration into Souleman’s experiences of terrorism, displacement and war in Syria and ruminate on how art can attempt to represent suffering and terror. In 1996, a bomb explosion in Damascus on New Year’s Eve nearly killed Souleman and left him blind. A sensitive and highly-charged topic, Souleman explained to de Freston the importance of engaging with what is happening in Syria. Disembodied mouths, hands and feet appear frequently in the works. Circles recur as a motif, which bear an uncomfortable resemblance to eyes and eye sockets. In the Mirror paintings which stand upright in black boxes, de Freston embeds ash, screws, thick glue, dirt and bits of wood into the canvas. They are corporeal and volcanic, visceral and abstract. The sense of molten heat in the paintings was compounded by a fire in de Freston’s studio in 2020, which was simultaneously destructive while giving the artist and the collaboration new momentum. The collaborative process involves de Freston describing the paintings to Souleman through words and touch. Souleman brings fresh meaning to the works, grounding them in his psychological landscape. Mark Jones captures these interactions in striking photographs and film footage.Habda Rashid, Senior Curator of Modern and Contemporary Art at Kettle’s Yard and the Fitzwilliam Museum, introduces I Saw This and considers the challenges of incorporating elements from real life. Journalist Yasmina Floyer’s contribution describes her reaction to de Freston’s work at his 2022 exhibition From Darkness at No 20 Arts, London, where she found that the sooty-black feet stencils and inky circles depicted resonated with her own experience of child loss. The moving text shows how de Freston’s art carries both specific and universal meanings. Editor Matt Price focuses on de Freston’s paintings, structuring his essay with fascinating quotes from Abu al-Ala al-Ma’arri, the eleventh-century blinded Arab philosopher. Crucially, de Freston, Jones and Souleman’s voices are presentin the book, with each shedding light on their part in the project. De Freston’s art is rooted in empathy and I Saw This is a culmination of this, translating Souleman’s world of memory and metaphor.

In the later Roman period the North Sea and Channel region was the scene of seaborne attacks, political crises, army reforms, Germanic invasions and changing imperial defence strategies. Literary evidence for this era is poor. On the other hand the Shore forts can yield highly significant information, but have been subject to little study in recent decades. At the Belgian coastal fort at Oudenburg large-scale excavations in the first decade of the 21st century revealed a strikingly well-preserved chronological, spatial and functional evolution of this military base, with five main fort periods running from the late 2nd until the early 5th century AD. For the first time within the context of the Shore forts securely datable structural evidence demonstrates the stages in progression of a mid- to late Roman fort where the horizons can be related to historically recorded processes and events in the region. Political, economic and social developments can be seen within this evidence, as a result of the assessment of the huge quantity of well-stratified finds types. Reports on the finds assemblage by specialist experts, using various analytical methods, represent ‘touchstones’ for regional military and later Roman studies in the North-West provinces.The study of Oudenburg, and in relationship to other Shore forts, enables exploration of ‘change and continuity’ and ‘identity’, in respect of the everyday lives of soldiers, and in their interaction with other forts and wider regional spheres. This is achieved by examining find contexts as reflections of the socio-cultural world. The study of ‘military identities’ is further emphasized through looking at the associated graveyards wherein the direct relationship with the successive fort periods is established. It is clear this fort was closely connected with the British forts and that there occurred an increasing Germanic influence as the fort transformed into a community of military families.This is volume one of three. This volume provides a detailed analysis of the Oudenburg site and the report of the research of its significance within the wider context of the Roman North Sea and Channel frontier zone, on a historic-military, a socio-cultural and a socio-economic level.

Altdorf’s earliest poems, written during military service and as a prisoner of war, reflected on nature, poetry and art. Beginning a new life, post-war, as an artist, Altdorf explored how the human figure might be depicted through increasingly abstract representations. Similarly, he refined his poetry to create ‘a new, free, melodic’ language’ with ‘a simple, song-like beauty’. Presenting Altdorf’s poetry alongside his art reveals a powerfully interconnected vision shaped but not defined by war: a humanitarian outlook informed by a profound spiritual belief.

This book explores urbanism in Antiquity from an archaeological perspective, focusing on the area of western Thessaly in central Greece. Presenting all the available evidence for ancient urban sites in the region, the study outlines and discusses the origins, development, and decline of urbanism in the area. The archaeological evidence shows that urban sites in western Thessaly developed from the mid-4th century BCE, with at least 25 identified contemporaneous cities spread over the area. These cities appear to have been planned and organised from the onset, with regular street-grids, fortification systems and water supply works, but were generally short-lived, typically existing for only five–six generations. Most of the sites were completely or nearly completely abandoned as settlements in the early 2nd century BCE, often with evidence of violent destruction, and only a handful survived as smaller regional centres under the Roman administration. Restorations of the former urban sites and especially their fortifications occur towards the end of Antiquity, especially the first half of the 6th century CE, but re-occupation appears again to have been short lived, as only three cities survived into the Middle Ages. From a regional perspective, the study shows that the rise and fall of urbanism itself did not necessarily cause complete socio-political disruption, but rather reflect changes in regional and supra-regional political organisation. On a global scale, the study exemplifies the political nature of the pre-Industrial city, its synthetic rather than organic role in agrarian societies, and the cyclic nature of urbanity in history. The book contains an extensive catalogue, presenting each site with photographs, topographical sketches, and complete bibliography.

This volume provides the results of the application of non-destructive archaeological methods (geophysical prospection and systematic surface collections) to the study of the urban site. It includes a review of what was known of the town and a discussion of the development, potential and limitations of the kind of high-resolution, extensive ground-penetrating radar survey which was carried out. Special emphasis is placed on the earliest colonial phase as well as later transformations, and explores how the inhabitants of Interamna Lirenas responded to the challenges and opportunities presented by a growing Roman world.

Peter Howson has established a formidable reputation as one of his generation's leading figurative painters. Many of his paintings derive inspiration from the streets of Glasgow, where he was brought up. He is renowned for his penetrating insight into the human condition, and his heroic portrayals of the mighty and the lowly. His experiences of abuse - whether self-inflicted and substance-related or the traumatic events of his childhood - have moulded his view of the world and afforded him an affinity with those individuals who are classed as somehow 'on the edge'. His ability to speak to those on the margins is proof of his enduring skill at capturing the maverick, the excessive and the non-conformist. In 1992 he was commissioned by the Imperial War Museum to record the conflict in the former Yugoslavia. He was appointed official British war artist for Bosnia in 1993 and in 1996 was awarded Doctor of Letters at The University of Strathclyde. His work is in numerous international private and public collections.This publication is the first major statement about Howson’s work for almost twenty years and accompanies a major retrospective at Edinburgh City Art Centre. It illustrates his consummate skill in a range of media and documents his religious work as well as his graphic responses to recent global events.

This is a study of the commemoration of Classical Greek battles, approaching monuments and other mnemonic practices as vital elements in the creation and curation of memories. It analyses the diachronic development of battlefield, sanctuary, and city spaces, as evidenced by archaeological remains and ancient literary sources. In addition, it explores the experience of the commemorative spaces through the application of theories of space, phenomenology, and social memory. Following a biographical approach, the commemoration of each battle is organised into stages of initial commemoration, official monumentalisation, memory curation, memory lapse, and reception.The research has led to several conclusions. While the commemoration of each battle can be divided into stages, these stages are not always discrete. There is variation in the types of commemorations within the stages, dependent on time, surrounding space, and the parties involved. Single commemorations can resonate differently with multiple audiences. The processes within the stage of memory curation lead to the subsequent lapse. The final stage of commemoration for each battle begins with the rediscovery of ancient monuments and continues to this day. The battles of Marathon, Leuktra, and Chaironeia are case studies for three reasons. First, they effectively span the period of Classical Greece (Marathon in 490 BCE to Chaironeia in 338 BCE). Secondly, these battles had different participants, thus allowing a variety of perspectives of both the victorious and the defeated. Lastly, these were battles that left lasting impacts in the material and literary record, making their commemoration relevant not only in antiquity, but also in the modern world.

What is Hadrian’s Wall made of, where did this material come from and how has it been reused in other buildings in the communities that emerged in the centuries after the Roman Empire? By studying the fabric of Hadrian’s Wall using a geological approach combined with archaeological methods, is it possible to refine our answers to these questions? This study describes how the relationship between the geology of the Wall’s landscape and its fabric may be used to further understand the Wall and presents a significant set of new geological and archaeological data on the Wall’s stones from across the length of the Wall. This data set has been collected in two complementary ways. First as a citizen-science project, where volunteers from local communities were trained to visually characterise sandstones and resulting in data collecting on large numbers of the Wall’s stones along the length of the Wall. Secondly, analytical research was used to gather in scientific data for a selected sets of rocks and stones. Geochemical data was captured using an X-ray fluorescence spectrometer, and petrographic observations made using a petrographic microscope and thin sections.The combined methods provide a framework for geological analysis of the Wall supported by robust data. It builds on earlier work on Roman quarrying and stone preparation highlighting not only stone sources, but the criteria for choosing stone, stone preparation methods, and the implied routes to the Wall. At the heart of this study lies the ability to uniquely identify different sandstone types. Geological methods used to achieve this are explored, as are the ways in which the sandstones form. This highlights both the possibilities and limits of this approach.

Kathryn Maple (b. 1989, Canterbury) is an artist specialising in drawing and painting. Her large-scale paintings feature urban, suburban and rural landscapes which are frequently populated by human figures. Her work is distinctive for its use of intensely layered mark making, lending the work both urgency and intimacy. The places and people depicted, rendered in a range of painting and drawing materials, are frequently afforded a sense of wildness or mystery by dint of their colour palette, collage-like compositions and recurring motifs such as wind-blown trees and winding pathways. This, her first monograph, features 379 images, many of which are reproduced for the first time. These include the presentation of her recent major series of oil pastel on paper works 'A Year of Drawings', alongside reproductions of her mixed media works on paper, as well as large oils on canvas. An essay by Kathryn Lloyd, writer, artist and Contemporary Art Editor at The Burlington Magazine, offers insight into Maple’s impulse to explore the world around her through her work. Large-scale paintings, replete with dense layers of marks, are constructed by means of personal encounter, memory and imagination. Details of man-made objects, tree bark and human skin, for instance, become composite, crucial in capturing fleeting experiences of place and of people. Lloyd brings out the symbolism of Maple’s work, making art historical comparisons while connecting these to the specific local characteristics of Maple’s familiar South London landscapes and the importance of walking to the artist’s practice.An interview with independent curator and critic Anneka French is focused on 'A Year of Drawings', a series of 365 drawings made daily since January 2022 outside the artist’s studio. They discuss the process, materials and art historical and literary influences upon Maple’s work, with a focus on how her drawing and painting strands of work impact each other. Their conversation provides an insight into the thinking of the artist at a crucial stage in Maple’s career.Taking its title from the lyrics of The Cure’s A Forest (1980), Editor Matt Price’s essay 'Into the Trees' offers an introduction to, and an overview of,' A Year of Drawings', discussing examples of the works and considering aspects of the series ranging from art historical precedents to themes, recurring motifs and interpretation.The monograph is published to coincide with the exhibitions: Under a Hot Sun, by Kathryn Maple, Walker Art Gallery, Liverpool, 11 February – 30 April 2023 and Kathryn Maple: A Year of Drawings, Lyndsey Ingram Gallery, London, 1–17 March 2023. It has been edited by Matt Price, designed by Anomie Studio, printed by Mixam, Watford, and published by Anomie, London. Kathryn Maple was born in Canterbury in 1989, and lives and works in South London. She graduated in 2011 with a degree in fine art printmaking from the University of Brighton, before undertaking a postgraduate programme at the Royal Drawing School in 2012–13. Maple has featured in exhibitions at venues including Barber & Lopes at the British Art Fair, London, The Royal Academy, London, Beers London, Messums Wiltshire, Flowers Gallery, London, Frestonian Gallery, London, Christies New York, Kristin Hjellegjerde Gallery, London, and Drawing Room, London. Maple was the winner of the Times Watercolour Competition 2014 and 2016, and The John Moores Painting Prize 2020. Her exhibition Under the Hot Sun at the Walker Art Gallery, Liverpool, 2023, was awarded to Maple as part of her prize for winning the latter.

The result of forty years of study, this book offers an overview of the most common find, after coins, on sites in Roman Britain – the brooch. Used basically to hold outer clothing together, it was always on view and was usually decorative. This significant work is based on the study of some 15,000 specimens. Following a discussion of manufacturing techniques, methods of study and the concept of dating, the book examines in detail the myriad style of brooches from the second century B.C., when the habit of wearing brooches really took off, to the early fifth century A.D. when newcomers brought their own types of brooch and imposed them on the rest of what was to become England. The final chapter is a synthesis of various strands mentioned in the body of the book and the social implications of the great change in brooch wearing which occurred in the third century.Originally published as a two-volume hardback – split into a text volume and a second volume featuring author-drawn illustrations of some 2,000 examples – this combined paperback edition of volume 1 and 2 of Brooches in Late Iron Age and Roman Britain ensures that this important contribution to the field remains accessible to a wider audience.

The Roman world was diverse and complex. And so were religious understandings and practices as mirrored in the enormous variety presented by archaeological, iconographic, and epigraphic evidence. Conventional approaches principally focus on the political role of civic cults as a means of social cohesion, often considered to be instrumentalised by elites. But by doing so, religious diversity is frequently overlooked, marginalising ‘deviating’ cult activities that do not fit the Classical canon, as well as the multitude of funerary practices and other religious activities that were all part of everyday life. In the Roman Empire, a person’s religious experiences were shaped by many and sometimes seemingly incompatible cult practices, whereby the ‘civic’ and ‘imperial’ cults might have had the least impact of all. The authors rethink these methodologies, arguing for a more dynamic image of religion that takes into account the varied and often contradictory choices and actions of individual, which reflects the discrepant religious experiences in the Roman world. Is it possible to ‘poke into the mind’ of an individual in Roman times, whatever his/her status and ethnicity, and try to understand the individual’s diverse experiences in such a complex, interconnected empire, exploring the choices that were open to an individual? This also raises the question whether the concept of individuality is valid for Roman times. In some periods, the impact of individual actions can be more momentous: the very first adoption of Roman-style sculpture, cult practices or Latin theonyms for indigenous deities can set in motion long-term processes that will significantly influence people’s perceptions of local deities, their characteristics, and functions. Do individual choices and preferences prevail over collective identities in the Roman Empire compared to pre-Roman times? To examine these questions, this volume presents case studies that analyse individual actions in the religious sphere.

In the later Roman period the North Sea and Channel region was the scene of seaborne attacks, political crises, army reforms, Germanic invasions and changing imperial defence strategies. Literary evidence for this era is poor. On the other hand the Shore forts can yield highly significant information, but have been subject to little study in recent decades. At the Belgian coastal fort at Oudenburg large-scale excavations in the first decade of the 21st century revealed a strikingly well-preserved chronological, spatial and functional evolution of this military base, with five main fort periods running from the late 2nd until the early 5th century AD. For the first time within the context of the Shore forts securely datable structural evidence demonstrates the stages in progression of a mid- to late Roman fort where the horizons can be related to historically recorded processes and events in the region. Political, economic and social developments can be seen within this evidence, as a result of the assessment of the huge quantity of well-stratified finds types. Reports on the finds assemblage by specialist experts, using various analytical methods, represent ‘touchstones’ for regional military and later Roman studies in the North-West provinces.The study of Oudenburg, and in relationship to other Shore forts, enables exploration of ‘change and continuity’ and ‘identity’, in respect of the everyday lives of soldiers, and in their interaction with other forts and wider regional spheres. This is achieved by examining find contexts as reflections of the socio-cultural world. The study of ‘military identities’ is further emphasized through looking at the associated graveyards wherein the direct relationship with the successive fort periods is established. It is clear this fort was closely connected with the British forts and that there occurred an increasing Germanic influence as the fort transformed into a community of military families.This is volume two of three and provides detailed reports on the finds assemblage of the south-west corner site of the Oudenburg fort.