When Oedipus met the Sphinx on the road to Thebes, he did more than answer a riddle - he spawned a myth that, told and retold, would become one of Western culture's central narratives about self-understanding. Identifying the story as a threshold myth - in which the hero crosses over into an unknown and dangerous realm where rules and limits are not known - Oedipus and the Sphinx offers a fresh account of this mythic encounter and how it deals with the concepts of liminality and otherness. Almut-Barbara Renger assesses the story's meanings and functions in classical antiquity - from its presence in ancient vase painting to its absence in Sophocles' tragedy - before arriving at two of its major reworkings in European modernity: the psychoanalytic theory of Sigmund Freud and the poetics of Jean Cocteau. Through her readings, she highlights the ambiguous status of the Sphinx and reveals Oedipus himself to be a liminal creature, providing key insights into Sophocles' portrayal and establishing a theoretical framework that organizes evaluations of the myth's reception in the twentieth century. Revealing the narrative of Oedipus and the Sphinx to be the very paradigm of a key transition experienced by all of humankind, Renger situates myth between the competing claims of science and art in an engagement that has important implications for current debates in literary studies, psychoanalytic theory, cultural history, and aesthetics.

From even before the time of Alexander the Great, the Greek gods spread throughout the Mediterranean, carried by settlers and largely adopted by the indigenous populations. By the third century b.c., gods bearing Greek names were worshipped everywhere from Spain to Afghanistan, with the resulting religious systems a variable blend of Greek and indigenous elements. Greek Gods Abroad examines the interaction between Greek religion and the cultures of the eastern Mediterranean with which it came into contact. Robert Parker shows how Greek conventions for naming gods were extended and adapted and provides bold new insights into religious and psychological values across the Mediterranean. The result is a rich portrait of ancient polytheism as it was practiced over 600 years of history.

God is unbounded. God became flesh. While these two assertions are equally viable parts of Western Christian religious heritage, they stand in tension with one another. Fearful of reducing God's majesty with shallow anthropomorphisms, philosophy and religion affirm that God, as an eternal being, stands wholly apart from creation. Yet the legacy of the incarnation complicates this view of the incorporeal divine, affirming a very different image of God in physical embodiment. While for many today the idea of an embodied God seems simplisticaeven pedestrianaChristoph Markschies reveals that in antiquity, the educated and uneducated alike subscribed to this very idea. More surprisingly, the idea that God had a body was held by both polytheists and monotheists. Platonic misgivings about divine corporeality entered the church early on, but it was only with the advent of medieval scholasticism that the idea that God has a body became scandalous, an idea still lingering today. In God's Body Markschies traces the shape of the divine form in late antiquity. This exploration follows the development of ideas of God's corporeality in Jewish and Greco-Roman traditions. In antiquity, gods were often like humans, which proved to be important for philosophical reflection and for worship. Markschies considers how a cultic environment nurtured, and transformed, Jewish and Christian descriptions of the divine, as well as how philosophical debates over the connection of body and soul in humanity provided a conceptual framework for imagining God. Markschies probes the connections between this lively culture of religious practice and philosophical speculation and the christological formulations of the church to discover how the dichotomy of an incarnate God and a fleshless God came to be. By studying the religious and cultural past, Markschies reveals a Jewish and Christian heritage alien to modern sensibilities, as well as a God who is less alien to the human experience than much of Western thought has imagined. Since the almighty God who made all creation has also lived in that creation, the biblical idea of humankind as image of God should be taken seriously and not restricted to the conceptual world but rather applied to the whole person.

The last major work of the giant of the field. Martin P. Nilsson set himself the task of tracing the elements of Greekmythology, as they appear in Homer's Iliad, to their source in Mycenaean culture, a much earlier period. His conclusions, drawn from a very limited empirical material - archaeology, very few relevant Linear B texts - are remarkably compelling. This title is part of UC Press's Voices Revived program, which commemorates University of California Press's mission to seek out and cultivate the brightest minds and give them voice, reach, and impact. Drawing on a backlist dating to 1893, Voices Revived makes high-quality, peer-reviewed scholarship accessible once again using print-on-demand technology. This title was originally published in 1972.

This title is part of UC Press's Voices Revived program, which commemorates University of California Press's mission to seek out and cultivate the brightest minds and give them voice, reach, and impact. Drawing on a backlist dating to 1893, Voices Revived makes high-quality, peer-reviewed scholarship accessible once again using print-on-demand technology. This title was originally published in 1942.

The ancient Greeks attributed great importance to the sacred during war and campaigning, as demonstrated from their earliest texts. Among the first four lines of the Iliad, for example, is a declaration that Apollo began the feud between Achilles and Agamemnon and sent a plague upon the Greek army because its leader, Agamemnon, had mistreated Apollo's priest. In this first in-depth study of the attitude of military commanders towards holy ground, Sonya Nevin addresses the customs and conduct of these leaders in relation to sanctuaries, precincts, shrines, temples and sacral objects. Focusing on a variety of Greek kings and captains, the author shows how military leaders were expected to react to the sacred sites of their foes. She further explores how they were likely to respond, and how their responses shaped the way such generals were viewed by their communities, by their troops, by their enemies and also by those like Herodotus, Thucydides and Xenophon who were writing their lives. This is a groundbreaking study of the significance of the sacred in warfare and the wider culture of antiquity.

Charlotte Higgins' spellbinding new collection will include all the most famous Greek myths, as well as many less well known but equally intriguing ones. Here are stories of the creation, of Heracles and Theseus and Perseus, the Trojan war and its origins and aftermaths, tales of Thebes and Argos and Athens. There are stories of love and desire, adventure and magic, destructive gods, helpless humans, gender-shifting characters, resourceful witches, and the origins of birds and animals. Taking her cue from Ovid, Charlotte Higgins has an intriguing structural device to thread her stories together. Inspired by the many moments in Greek myths in which women are seen to weave stories on to textiles (such as Helen of Troy in Homer, and Arachne and Minerva in Ovid), the tales will be told as if they are scenes in the act of being woven on to textiles by women. And, while not operating as an explicitly feminist retelling, this will add a new dimension to her myths, bringing women narrators and characters into the foreground. Above all, Charlotte Higgins' Greek Myths will be an original work of literature and scholarship by an exceptionally talented writer. It will be book to be enjoyed as a work of art, a source to be consulted, a present to be given, and an object to keep and treasure.

Applying the latest narratological theory and focusing on the use of anachrony (or 'chronological deviation'), this book explores how Statius competes - successfully - for a place within an established literary canon. Given the tremendous pressure on poets to render familiar stories in unfamiliar and novel ways, how did he achieve this? When Statius elected to sing of the quarrelsome sons of Oedipus he was acutely aware that this was a well-trod road, one frequently reproduced in a variety of genres - epic, drama and lyric poetry. Despite this highly varied corpus against which he sought to contend, he boasts that his epic has novelty and proudly declares that he is now counted among the 'prisca nomina', or ancient names, that sang of Thebes. And indeed precisely the fact that there were so many story-versions (a greater number survive for comparison than for any other work from antiquity, rivaling even the popularity of the Trojan legend) means that the story is conveniently positioned to offer a unique exploration into how Statius creates a compelling story despite working within a saturated and overly familiar mythic tradition. This book argues that it is chiefly through the use of narrative anachrony, or non-chronological modes of narration, that Statius manipulates states of anticipation, suspense, and even surprise in his audience.