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Stephen Dyson provides a new synthesis, describing current research on the Roman countryside with a topological framework. Focusing on areas where some of the most innovative rural research has been conducted, he discusses what happened during the period of transition.
Villa to Village challenges the historical view that hilltop villages in Italy were first founded in the tenth century. Drawing upon recent excavations, the authors show that the makings of the medieval village lie in the demise of the Roman villa in late antiquity. The book describes the lively debate between archaeologists and historians on this issue. It also examines the evidence for the first manorial villages of the Carolingian era and describes how these were transformed into the familiar feudal villages that are characteristic of much of Italy. Useful maps, plans and reconstructions illustrate this useful text.
Stunning images of an extraordinary and endangered landscape from one of America's finest photographers. Sternfeld's magnificent photographs capture juxtapositions of Rome's past and present--tombs, villas, arches coexisting with apartment houses, malls, and the blight of the modern city. 2 maps. 88 color photographs (including 7 gatefolds).
This volume focuses upon the people of rural Roman Britain - how they looked, lived, interacted with the material and spiritual worlds surrounding them, and also how they died, and what their physical remains can tell us. Analyses indicate a geographically and socially diverse society, influenced by pre-existing cultural traditions and varying degrees of social connectivity. Incorporation into the Roman empire certainly brought with it a great deal of social change, though contrary to many previous accounts depicting bucolic scenes of villa-life, it would appear that this change was largely to the detriment of many of those living in the countryside.
This volume offers a comprehensive survey of Roman villas in Italy and the Mediterranean provinces of the Roman Empire, from their origins to the collapse of the Empire. The architecture of villas could be humble or grand, and sometimes luxurious. Villas were most often farms where wine, olive oil, cereals, and manufactured goods, among other products, were produced. They were also venues for hospitality, conversation, and thinking on pagan, and ultimately Christian, themes. Villas spread as the Empire grew. Like towns and cities, they became the means of power and assimilation, just as infrastructure, such as aqueducts and bridges, was transforming the Mediterranean into a Roman sea. The distinctive Roman/Italian villa type was transferred to the provinces, resulting in Mediterranean-wide culture of rural dwelling and work that further unified the Empire.
Over the past decades, archaeological field surveys and excavations have greatly enriched our knowledge of the Roman countryside Drawing on such new data, the volume The Economic Integration of Roman Italy, edited by Tymon de Haas and Gijs Tol, presents a series of papers that explore the changes Rome’s territorial and economic expansion brought about in the countryside of the Italian peninsula. By drawing on a variety of source materials (e.g. pottery, settlement patterns, environmental data), they shed light on the complexity of rural settlement and economies on the local, regional and supra-regional scales. As such, the volume contributes to a re-assessment of Roman economic history in light of concepts such as globalisation, integration, economic performance and growth.
A bold application of economic theory to help provide an understanding of the role that law played in the development of the Roman economy
Monografie over onderzoek naar Romeinse villa's en hun omgeving in de noordelijke provincies van het Romeinse Rijk.
This volume, which was awarded Honorable Mention and a Silver Medal from the Premio Romanistico Internationazionale Gérard Boulvert, investigates the socio-economic role of elite villas in Roman Central Italy drawing on both documentary sources and material evidence. Through the composite picture emerging from the juxtaposition of literary texts and archaeological evidence, the book traces elite ideological attitudes and economic behavior, caught between what was morally acceptable and the desire to invest capital intelligently. The analysis of the biases affecting the application of modern historiographical models to the interpretation of the archaeology frames the discussion on the identification of slave quarters in villas and the putative second century crisis of the Italian economy. The book brings an innovative perspective to the debate on the villa-system and the decline of villas in the imperial period.
In his 1992 book Campagna Romana. The Countryside of Ancient Rome Joel Sternfeld focused on the ruins of grand structures with a clear warning: great civilizations fall, ours may too. Now in Rome after Rome, containing images from the previous book as well as numerous unpublished pictures, Sternfeld's questions multiply: who are these modern Romans? What is their relationship to the splendor that was? What is the nature of sullied modernity in relation to the Arcadian ideal? Is there, at this late moment, any chance for Utopia? The Campagna, the countryside south and east of Rome occupies a special place in Roman--and human history. With the rise of Ancient Rome, this once polluted, malarial landscape was restored by emperors and thrived with some 20 towns and numerous wealthy villas on the rolling plains among the mighty aqueducts that fed water to Rome. After the city fell, the Campagna once again became desolate and dangerous. The gloomy tombs, broken homes and aqueducts sat in a kind of no man's land for over 1,000 years. To this landscape came the painters: Dürer, Lorrain, Poussin, and later, Corot, Turner, and Americans such as Thomas Cole. In the ruins they sought the origins of Rome's greatness and the meaning of her fall. Later they depicted a place where Roman gods cavorted and mankind lived in a golden age, an Arcadia. Central Rome was rebuilt with Baroque apartments hiding the past: in the Campagna the past was visible and all imaginings possible. Sternfeld juxtaposes the ruins of a powerful, ancient civilization with the new construction and the debris of our own time. Avoiding obvious contrasts, eschewing heavy-handed irony, this contemporary artist draws our attention to both despoliation and lasting beauty; he suggests many reasons for despair, yet he also has something to say about the nobility of the human spirit. Theodore E. Stebbins Jr.