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Time travel should be a historian’s dream come true. But when Alex is tossed into the past, how real is too real? Alexandra Lindgren thought her life was perfect. A history buff with her dream job as a museum archivist, a fabulous boyfriend, and a great social life. The only way life could get better would be to experience the past firsthand... But hours after her boyfriend dumps her, she’s tossed back into ancient Herculaneum – only weeks before Mount Vesuvius is set to erupt. As the reality of living in the past sets in, Alexandra realizes that it may not be as enchanting as she imagined. Especially since she has no idea how to get home. However, hope appears in an unexpected form – Clio, the Muse of history, emerges and offers Alexandra a way back to the present. The condition? Alexandra must save Titus, a handsome young man who was never meant to be in Herculaneum. The mission seems straightforward, but the path ahead is fraught with peril. Soon Alex and Titus are embroiled in a supernatural power struggle with enemies around every corner. Will they escape Vesuvius? Or will history be a little too real this time?
At the beginning of the 18th century, three life-sized marble statues of women were found near Portici on the Bay of Naples. This volume presents the comprehensive story of these famous statues.
"Ethnic values changed as Imperial Rome expanded, challenging ethnocentric values in Rome itself, as well as in Greece and Judea. Rhetorically, Roman, Greek, and Judean writers who eulogized their cities all claimed they would receive foreigners. Further, Greco-Roman narratives of urban tensions between rich and poor, proud and humble, promoted reconciliation and fellowship between social classes. Luke wrote Acts in this ethnic, economic, political context, narrating Jesus as a founder who changed laws to encourage receiving foreigners, which promoted civic, missionary growth and legitimated interests of the poor and humble. David L. Balch relates Roman art to early Christianity and introduces famous, pre-Roman Corinthian artists. He shows women visually represented as priests, compares Dionysian and Corinthian charismatic speech and argues that larger assemblies of the earliest, Pauline believers “sat” (1 Cor 14.30) in taverns. Also, the author demonstrates that the image of a pregnant woman in Revelation 12 subverts imperial claims to the divine origin of the emperor, before finally suggesting that visual representations by Roman domestic artists of “a category of women who upset expected forms of conduct” (Bergmann) encouraged early Christian women like Thecla, Perpetua and Felicitas to move beyond gender stereotypes of being victims. Balch concludes with two book reviews, one of Nicolas Wiater's book on the Greek biographer and historian Dionysius, who was a model for both Josephus and Luke-Acts, the second of a book by Frederick Brenk on Hellenistic philosophy and mystery religion in relation to earliest Christianity."--
Examines portraits of Rome's Vestal Virgins as artistic documents and political vehicles