Jerry Toner – författare

A seventeenth-century English traveler to the Eastern Mediterranean would have faced a problem in writing about this unfamiliar place: how to describe its inhabitants in a way his countrymen would understand? In an age when a European education meant mastering the Classical literature of Greece and Rome, he would naturally turn to touchstones like the Iliad to explain the exotic customs of Ottoman lands. His Turk would have been Homer’s Turk.An account of epic sweep, spanning the Crusades, the Indian Raj, and the postwar decline of the British Empire, Homer’s Turk illuminates how English writers of all eras have relied on the Classics to help them understand the world once called “the Orient.” Ancient Greek and Roman authors, Jerry Toner shows, served as a conceptual frame of reference over long periods in which trade, religious missions, and imperial interests shaped English encounters with the East. Rivaling the Bible as a widespread, flexible vehicle of Western thought, the Classics provided a ready model for portrayal and understanding of the Oriental Other. Such image-making, Toner argues, persists today in some of the ways the West frames its relationship with the Islamic world and the rising powers of India and China.Discussing examples that range from Jacobean travelogues to Hollywood blockbusters, Homer’s Turk proves that there is no permanent version of either the ancient past or the East in English writing—the two have been continually reinvented alongside each other.

Roman Disasters looks at how the Romans coped with, thought about, and used disasters for their own ends. Rome has been famous throughout history for its great triumphs. Yet Rome also suffered colossal disasters. From the battle of Cannae, where fifty thousand men fell in a single day, to the destruction of Pompeii, to the first appearance of the bubonic plague, the Romans experienced large scale calamities.Earthquakes, fires, floods and famines also regularly afflicted them.This insightful book is the first to treat such disasters as a conceptual unity. It shows that vulnerability to disasters was affected by politics, social status, ideology and economics. Above all, it illustrates how the resilience of their political and cultural system allowed the Romans to survive the impact of these life-threatening events. The book also explores the important role disaster narratives played in Christian thought and rhetoric.Engaging and accessible, Roman Disasters will be enjoyed by students and general readers alike.

Modern risk studies have viewed the inhabitants of the ancient world as being both dominated by fate and exposed to fewer risks, but this very readable and groundbreaking new book challenges these views. It shows that the Romans inhabited a world full of danger and also that they not only understood uncertainty but employed a variety of ways to help to affect future outcomes. The first section focuses on the range of cultural attitudes and traditional practices that served to help control risk, particularly among the non-elite population. The book also examines the increasingly sophisticated areas of expertise, such as the law, logistics and maritime loans, which served to limit uncertainty in a systematic manner. Religious expertise in the form of dream interpretation and oracles also developed new ways of dealing with the future and the implicit biases of these sources can reveal much about ancient attitudes to risk.

Modern risk studies have viewed the inhabitants of the ancient world as being both dominated by fate and exposed to fewer risks, but this very readable and groundbreaking new book challenges these views. It shows that the Romans inhabited a world full of danger and also that they not only understood uncertainty but employed a variety of ways to help to affect future outcomes. The first section focuses on the range of cultural attitudes and traditional practices that served to help control risk, particularly among the non-elite population. The book also examines the increasingly sophisticated areas of expertise, such as the law, logistics and maritime loans, which served to limit uncertainty in a systematic manner. Religious expertise in the form of dream interpretation and oracles also developed new ways of dealing with the future and the implicit biases of these sources can reveal much about ancient attitudes to risk.

In Antiquity (500 BCE-500 CE), leisure was always more significant than simply a short break from the hardships of everyday life. Leisure served to teach citizens about their various social roles and helped them construct identities, mainly by establishing and maintaining boundaries between social groups. Educated elites cultivated the concepts schole and otium to denote dignified free time, which the gentleman was able to devote to morally valuable pursuits. Festivals and public games were accessible for large and diverse audiences, and also functioned as an effective tool to forge political loyalty to rulers and the ruling classes. Is it useful to apply the term ‘leisure’ to the ancient world? What do we need to take into account to write a cultural history of leisure in Antiquity?A Cultural History of Leisure in Antiquity, focusing on Greece and Rome, presents an overview of key themes and trends in this period, with essays on: Ideas of leisure; The performing arts and their audiences; The cerebral arts and their publics; Sports and games; Holydays, holidays and tourism; The world of conviviality; The world of goods; The world of nature; Representations of leisure.

The ancient world used the senses to express an enormous range of cultural meanings. Indeed the senses were functionally significant in all aspects of ancient life, often in ways that were complex and interconnected. Antiquity was also a period where the senses were experienced vividly: cities stank, statues were brightly painted and literature made full use of sensory imagery to create its effects. In a steeply hierarchical world, with vast differences between the landed wealthy, the poor and the slaves, the senses played a key role in establishing and maintaining boundaries between social groups; but the use of the senses in the ancient world was not static. New religions, such as Christianity, developed their own way of using the senses, acquiring unique forms of sensory-related symbolism in processes which were slow and often contested. The aim of this volume is to provide an overview of these structures and developments and to show how their study can yield a more nuanced understanding of the ancient world.A Cultural History of the Senses in Antiquity presents essays on the following topics: the social life of the senses; urban sensations; the senses in the marketplace; the senses in religion; the senses in philosophy and science; medicine and the senses; the senses in literature; art and the senses; and sensory media.

The Roman emperor Commodus wanted to kill a rhinoceros with a bow and arrow, and he wanted to do it in the Colosseum. Commodus' passion for hunting animals was so fervent that he dreamt of shooting a tiger, an elephant, and a hippopotamus; his prowess was such that people claimed he never missed when hurling his javelin or firing arrows from his bow. For fourteen days near the end of AD 192, the emperor mounted one of the most lavish and spectacular gladiatorial games Rome had ever seen. Commodus himself was the star attraction, and people rushed from all over Italy to witness the spectacle. But this slaughter was simply the warm-up act to the main event: the emperor was also planning to fight as a gladiator. Why did Roman rulers spend vast resources on such over-the-top displays - and why did some emperors appear in them as combatants? Why did the Roman rabble enjoy watching the slaughter of animals and the sight of men fighting to the death? And how best can we in the modern world understand what was truly at stake in the circus and the arena?In The Day Commodus Killed a Rhino, Jerry Toner set out to answer these questions by vividly describing what it would have been like to attend Commodus' fantastic shows and watch one of his many appearances as both hunter and fighter. Highlighting the massive logistical effort needed to supply the games with animals, performers, and criminals for execution, the book reveals how blood and gore were actually incidental to what really mattered. Gladiatorial games played a key role in establishing a forum for political debate between the rulers and the ruled. Roman crowds were not passive: they were made up of sophisticated consumers with their own political aims, which they used the games to secure. In addition, the games also served as a pure expression of what it meant to be a true Roman. Drawing on notions of personal honor, manly vigor, and sophisticated craftsmanship, the games were a story that the Romans loved to tell themselves about themselves.

The Roman emperor Commodus wanted to kill a rhinoceros with a bow and arrow, and he wanted to do it in the Colosseum. Commodus' passion for hunting animals was so fervent that he dreamt of shooting a tiger, an elephant, and a hippopotamus; his prowess was such that people claimed he never missed when hurling his javelin or firing arrows from his bow. For fourteen days near the end of AD 192, the emperor mounted one of the most lavish and spectacular gladiatorial games Rome had ever seen. Commodus himself was the star attraction, and people rushed from all over Italy to witness the spectacle. But this slaughter was simply the warm-up act to the main event: the emperor was also planning to fight as a gladiator. Why did Roman rulers spend vast resources on such over-the-top displays - and why did some emperors appear in them as combatants? Why did the Roman rabble enjoy watching the slaughter of animals and the sight of men fighting to the death? And how best can we in the modern world understand what was truly at stake in the circus and the arena?In The Day Commodus Killed a Rhino, Jerry Toner set out to answer these questions by vividly describing what it would have been like to attend Commodus' fantastic shows and watch one of his many appearances as both hunter and fighter. Highlighting the massive logistical effort needed to supply the games with animals, performers, and criminals for execution, the book reveals how blood and gore were actually incidental to what really mattered. Gladiatorial games played a key role in establishing a forum for political debate between the rulers and the ruled. Roman crowds were not passive: they were made up of sophisticated consumers with their own political aims, which they used the games to secure. In addition, the games also served as a pure expression of what it meant to be a true Roman. Drawing on notions of personal honor, manly vigor, and sophisticated craftsmanship, the games were a story that the Romans loved to tell themselves about themselves.

Rome is an empire with a bad reputation. From its brutal games to its depraved emperors, its violent mobs to its ruthless wars, its name resounds down the centuries like a scream in an alley. But was it as bad as all that? Join the historian Jerry Toner on a detective's hunt to discover the extent of Rome's crimes.From the sexual peccadillos of Tiberius and Nero to the chances of getting burgled if you left your apartment unguarded (pretty high, especially if the walls were thin enough to knock through) he leaves no stone unturned in his quest to bring the Eternal City to book.Meet a gallery of villains, high and low. Discover the problems that most exercised its long-suffering citizens. Explore the temptations of excess and find out what desperation can make a pleb do. What do we see when we look at Rome? A hideous vision of ancient corruption - or a reflection of our own troubled age?

Ideas in Profile: Small Introductions to Big TopicsThis introduction to the ancient world, part of the Ideas in Profile series, covers all its different cultures, from the million people crammed into Rome to the Jews and Syrians who refused to be Romanised. Jerry Toner shows what can be learnt from new approaches to ancient history, from analysing the bones of the dead in Pompeii or assessing the impact of environmental change, and considers how we can discover what it was like to live back then. He looks at every period, not just classical Athens and Republican Rome, but the Hellenistic kingdoms that followed Alexander and the Christian-dominated later Roman Empire. Greece and Rome, he argues, must be fitted into the global history of their day: what did Persians think of Greeks and how does the Roman empire stack up to China's? With vivid examples and animation from award-winning Cognitive at every stage, this is the ideal introduction to the ancient world for general readers and students.

'Toner again spins a tale that is enjoyable and informative.' The TimesTour the Roman Empire at its height with Marcus Sidonius Falx and his amanuensis, Dr Jerry Toner. Travelling east, Falx explores the great cultural centre of Athens before trekking into rural Asia (or Turkey as we know it), past the already ancient Luxor monuments in Roman Egypt, and by the Great Library of Alexandria. Travelling west across the breadbasket of the Empire, he journeys through Gaul (France) before crossing to Britannia, where he suffers the worst that provincial life has to offer.Falx provides practical advice on surviving all things travel: from pirates and shipwrecks to bedbugs and lousy food. Even the most sedentary reader will feel they have experienced life in the Empire first-hand.