The Tibetan Gesar epic, considered "the world's longest poem," has been the object of countless retellings, translations, and academic studies in the two centuries since it was first introduced to European readers. In The Many Faces of Ling Gesar, its many aspects-historical, cultural, and literary-are surveyed for the first time in a single volume in English, addressed to both general readers and specialists. The original scholarship presented here, by international experts in Tibetan Studies, honours the contributions of Rolf A. Stein (1911-1999), whose studies of the Tibetan epic are the enduring standard in this field. With a foreword by Jean-Noel Robert, College de France. Contributors are: Anne-Marie Blondeau, Chopa Dondrup, Estelle Dryland, Solomon George FitzHerbert, Gregory Forgues, Frances Garrett, Frantz Grenet, Lama Jabb, Matthew W. King, Norbu Wangdan, Geoffrey Samuel, Siddiq Wahid, Wang Guoming, Yang Enhong.

This first in-depth study of Valerius Flaccus' animals reveals their role in his poetic programme and the manifold ways in which he establishes their subjectivity. In one encounter, a trapped bird becomes a tragic victim, while the trapper is dehumanized. Elsewhere there are touching portrayals of animal/human camaraderie and friendship. Furthermore, Valerius' provocative consideration of the 'monstrous' challenges simplistic definitions of any being's nature, or the nature of relationships across species. His challenge entails profound ethical implications for his Roman readership, which resonate with us as we assess our own relationship to animals and the natural world today.

This volume, examining the reception of ancient rhetoric, aims to demonstrate that the past is always part of the present: in the ways in which decisions about crucial political, social and economic matters have been made historically; or in organic interaction with literature, philosophy and culture at the core of the foundation principles of Western thought and values. Analysis is meant to cover the broadest possible spectrum of considerations that focus on the totality of rhetorical species (i.e. forensic, deliberative and epideictic) as they are applied to diversified topics (including, but not limited to, language, science, religion, literature, theatre and other cultural processes (e.g. athletics), politics and leadership, pedagogy and gender studies) and cross-cultural, geographical and temporal contexts.

Despite their removal from England's National Curriculum in 1988, and claims of elitism, Latin and Greek are increasingly re-entering the 'mainstream' educational arena. Since 2012, there have been more students in state-maintained schools in England studying classical subjects than in independent schools, and the number of schools offering Classics continues to rise in the state-maintained sector. The teaching and learning of Latin and Greek is not, however, confined to the classroom: community-based learning for adults and children is facilitated in newly established regional Classics hubs in evenings and at weekends, in universities as part of outreach, and even in parks and in prisons. This book investigates the motivations of teachers and learners behind the rise of Classics in the classroom and in communities, and explores ways in which knowledge of classical languages is considered valuable for diverse learners in the 21st century. The role of classical languages within the English educational policy landscape is examined, as new possibilities exist for introducing Latin and Greek into school curricula. The state of Classics education internationally is also investigated, with case studies presenting the status quo in policy and practice from Australasia, North America, the rest of Europe and worldwide. The priorities for the future of Classics education in these diverse locations are compared and contrasted by the editors, who conjecture what strategies are conducive to success.

Although Aristotle's contribution to biology has long been recognized, there are many philosophers and historians of science who still hold that he was the great delayer of natural science, calling him the man who held up the Scientific Revolution by two thousand years. They argue that Aristotle never considered the nature of matter as such or the changes that perceptible objects undergo simply as physical objects; he only thought about the many different, specific natures found in perceptible objects. Aristotle's Science of Matter and Motion focuses on refuting this misconception, arguing that Aristotle actually offered a systematic account of matter, motion, and the basic causal powers found in all physical objects. Author Christopher Byrne sheds lights on Aristotle's account of matter, revealing how Aristotle maintained that all perceptible objects are ultimately made from physical matter of one kind or another, accounting for their basic common features. For Aristotle, then, matter matters a great deal.

While prayer is generally understood as "communion with God" modern forms of spirituality prefer "communion" that is non-petitionary and wordless. This preference has unduly influenced modern scholarship on historic methods of prayer particularly concerning Anglo-Saxon spirituality. In Compelling God, Stephanie Clark examines the relationship between prayer, gift giving, the self, and community in Anglo-Saxon England. Clark's analysis of the works of Bede, Aelfric, and Alfred utilizes anthropologic and economic theories of exchange in order to reveal the ritualized, gift-giving relationship with God that Anglo-Saxon prayer espoused. Anglo-Saxon prayer therefore should be considered not merely within the usual context of contemplation, rumination, and meditation but also within the context of gift exchange, offering, and sacrifice. Compelling God allows us to see how practices of prayer were at the centre of social connections through which Anglo-Saxons conceptualized a sense of their own personal and communal identity.

How to Do Things with History is a collection of essays that explores current and future approaches to the study of ancient Greek cultural history. Rather than focus directly on methodology, the essays in this volume demonstrate how some of the most productive and significant methodologies for studying ancient Greece can be employed to illuminate a range of different kinds of subject matter. These essays, which bring together the work of some of the most talented scholars in the field, are based upon papers delivered at a conference held at Cambridge University in September of 2014 in honor of Paul Cartledge's retirement from the post of A. G. Leventis Professor of Ancient Greek Culture. For the better part of four decades, Paul Cartledge has spearheaded intellectual developments in the field of Greek culture in both scholarly and public contexts. His work has combined insightful historical accounts of particular places, periods, and thinkers with a willingness to explore comparative approaches and a keen focus on methodology. Cartledge has throughout his career emphasized the analysis of practice - the study not, for instance, of the history of thought but of thinking in action and through action. The assembled essays trace the broad horizons charted by Cartledge's work: from studies of political thinking to accounts of legal and cultural practices to politically astute approaches to historiography. The contributors to this volume all take the parameters and contours of Cartledge's work, which has profoundly influenced an entire generation of scholars, as starting points for their own historical and historiographical explorations. Those parameters and contours provide a common thread that runs through and connects all of the essays while also offering sufficient freedom for individual contributors to demonstrate an array of rich and varied approaches to the study of the past.

This book uses the mythological hero Heracles as a lens for investigating the nature of heroic violence in Archaic and Classical Greek literature, from Homer through to Aristophanes. Heracles was famous for his great victories as much as for his notorious failures. Driving each of these acts is his heroic violence, an ambivalent force that can offer communal protection as well as cause grievous harm. Drawing on evidence from epic, lyric poetry, tragedy, and comedy, this work illuminates the strategies used to justify and deflate the threatening aspects of violence. The mixed results of these strategies also demonstrate how the figure of Heracles inherently - and stubbornly - resists reform. The diverse character of Heracles' violent acts reveals an enduring tension in understanding violence: is violence a negative individual trait, that is to say the manifestation of an internal state of hostility? Or is it one specific means to a preconceived end, rather like an instrument whose employment may or may not be justified? Katherine Lu Hsu explores these evolving attitudes towards individual violence in the ancient Greek world while also shedding light on timeless debates about the nature of violence itself.

Representative of a unique literary genre and composed in the 13th and 14th centuries, the Icelandic Family Sagas rank among some of the world's greatest literature. Here, Heather O'Donoghue skilfully examines the notions of time and the singular textual voice of the Sagas, offering a fresh perspective on the foundational texts of Old Norse and medieval Icelandic heritage. With a conspicuous absence of giants, dragons, and fairy tale magic, these sagas reflect a real-world society in transition, grappling with major new challenges of identity and development. As this book reveals, the stance of the narrator and the role of time - from the representation of external time passing to the audience's experience of moving through a narrative - are crucial to these stories. As such, Narrative in the Icelandic Family Saga draws on modern narratological theory to explore the ways in which saga authors maintain the urgency and complexity of their material, handle the narrative and chronological line, and offer perceptive insights into saga society. In doing so, O'Donoghue presents a new poetics of family sagas and redefines the literary rhetoric of saga narratives.

Volume 2 of the Yearbook of Ancient Greek Epic presents seven articles. Contributors explore the poetry of Homer, Hesiod, and Empedocles, investigate the nature of formulaic language, reveal Greek tragedy's connections with epic, and study the characters of Ganymede and Hekamede. This diverse collection will be of interest to all students and scholars of ancient Greek epic. Contributors are: Joel P. Christensen, Xavier Gheerbrant, Ahuvia Kahane, Lynn Kozak, Bruce Louden, Sheila Murnaghan, Polyxeni Strolonga.

Imagining Emperors in the Later Roman Empire offers new analysis of the textual depictions of a series of emperors in the fourth century within overlapping historical, religious, and literary contexts. Drawing on the recent Representational Turn in the study of imperial power, these essays examine how literary authors working in various genres, both Latin and Greek, and of differing religious affiliations construct and manipulate the depiction of a series of emperors from the late third to the late fourth centuries CE. In a move away from traditional source criticism, this volume opens up new methodological approaches to chart intellectual and literary history during a critical century for the ancient Mediterranean world.

Widely heard and read throughout the middle ages, romance literature has persisted for centuries and has lately re-emerged in the form of speculative fiction, inviting readers to step out of the actual world and experience the intriguing pleasure of possibility. Medieval Romance is the first study to focus on the deep philosophical underpinnings of the genre's fictional worlds. James F. Knapp and Peggy A. Knapp uniquely utilize Leibniz's "possible worlds" theory, Kant's aesthetic reflections, and Gadamer's writings on the apprehension of language over time, to bring the romance genre into critical dialogue with fundamental questions of philosophical aesthetics, modal logic, and the hermeneutics of literary transmission. The authors' compelling and illuminating analysis of six instances of medieval secular writing, including that of Marie de France, the Gawain-poet, and Chaucer demonstrates how the extravagantly imagined worlds of romance invite reflection about the nature of the real. These stories, which have delighted readers for hundreds of years, do so because the impossible fictions of one era prefigure desired realities for later generations.

Classical Greek Tragedy offers a comprehensive survey of the development of classical Greek tragedy combined with close readings of exemplary texts. Reconstructing how audiences in fifth-century BCE Athens created meaning from the performance of tragedy at the dramatic festivals sponsored by the city-state and its wealthiest citizens, it considers the context of Athenian political and legal structures, gender ideology, religious beliefs, and other social forces that contributed to spectators' reception of the drama. In doing so it focuses on the relationship between performers and watchers, not only Athenian male citizens, but also women and audiences throughout the ancient Mediterranean world. This book traces the historical development of these dynamics through three representative tragedies that span a 50 year period: Aeschylus' Seven Against Thebes, Sophocles' Oedipus Tyrannus, and Euripides' Helen. Topics include the role of the chorus; the tragic hero; recurring mythical characters and subject matter; Aristotelian assessments of the components of tragedy; developments in the architecture of the theater and their impact on the interactions of characters, and the spaces they occupy. Unifying these discussions is the observation that the genre articulates a reality beyond the visible stage action that intersects with the characters' existence in the present moment and resonates with the audience's religious beliefs and collective psychology. Human voices within the performance space articulate powerful forces from an invisible dimension that are activated by oaths, hymns, curses and prayers, and respond in the form of oracles and prophecies, forms of discourse which were profoundly meaningful to those who watched the original productions of tragedy.

This edited volume, arising from the 2019 conference "Orality and Literacy: Repetition," explores some of the many forms and uses of repetition, in poetry, philosophy, and inscriptions, from Homeric epic through the Latin novel and the Gospels to reception in the twentieth century. All human communication depends on repeating signs that are comprehensible to the speaker and the addressee. Yet "repetition" takes many specific forms, in different performance contexts, time periods, and literary genres. Repetition may operate within one utterance, or across several times, places, and artists. The relationship between two repeated utterances cannot always be determined with certainty. But repetition offers exciting ways to understand the communicative process in oral and literate contexts across the ancient world.

This new introduction to Euripides' fascinating interpretation of the story of Electra and her brother Orestes emphasizes its theatricality, showing how captivating the play remains to this day. Electra poses many challenges for those drawn to Greek tragedy - students, scholars, actors, directors, stage designers, readers and audiences. Rush Rehm addresses the most important questions about the play: its shift in tone between tragedy and humour; why Euripides arranged the plot as he did; issues of class and gender; the credibility of the gods and heroes, and the power of the myths that keep their stories alive. A series of concise and engaging chapters explore the functions of the characters and chorus, and how their roles change over the course of the play; the language and imagery that affects the audience's response to the events on stage; the themes at work in the tragedy, and how Euripides forges them into a coherent theatrical experience; the later reception of the play, and how an array of writers, directors and filmmakers have interpreted the original. Euripides' Electra has much to say to us in our contemporary world. This thorough, richly informed introduction challenges our understanding of what Greek tragedy was and what it can offer modern theatre, perhaps its most valuable legacy.