Series Information:
Studies in Medieval History and Culture: Outstanding Dissertations

The careers of Philip II and his son Alexander the Great (III) were interlocked in innumerable ways: Philip II centralized ancient Macedonia, created an army of unprecedented skill and flexibility, came to dominate the Greek peninsula, and planned the invasion of the Persian Empire with a combined Graeco-Macedonian force, but it was Alexander who actually led the invading forces, defeated the great Persian Empire, took his army to the borders of modern India, and created a monarchy and empire that, despite its fragmentation, shaped the political, cultural, and religious world of the Hellenistic era. Alexander drove the engine his father had built, but had he not done so, Philip's achievements might have proved as ephemeral as had those of so many earlier Macedonian rulers. On the other hand, some scholars believe that Alexander played a role, direct or indirect, in the murder of his father, so that he could lead the expedition to Asia that his father had organized. In short, it is difficult to understand or assess one without considering the other. This collection of previously unpublished articles looks at the careers and impact of father and son together. Some of the articles consider only one of the Macedonian rulers although most deal with both, and with the relationship, actual or imagined, between the two. The volume will contain articles on military and political history but also articles that look at the self-generated public images of Philip and Alexander, the counter images created by their enemies, and a number that look at how later periods understood them, concluding with the Hollywood depiction of the relationship. Despite the plethora of collected works that deal with Philip and Alexander, this volume promises to make a genuine contribution to the field by focusing specifically on their relationship to one another.

This book explores Roman love elegy from postcolonial perspectives, arguing that the tropes, conventions, and discourses of the Augustan genre serve to reinforce the imperial identity of its elite, metropolitan audience. Love elegy presents the phenomena and discourses of Roman imperialism-in terms of visual spectacle (the military triumph), literary genre (epic in relation to elegy), material culture (art and luxury goods), and geographic space-as intersecting with ancient norms of gender and sexuality in a way that reinforces Rome's dominance in the Mediterranean. The introductory chapter lays out the postcolonial frame, drawing from the work of Edward Said among other theorists, and situates love elegy in relation to Roman Hellenism and the varied Roman responses to Greece and its cultural influences. Four of the six subsequent chapters focus on the rhetorical ambivalence that characterizes love elegy's treatment of Greek influence: the representation of the domina or mistress as simultaneously a figure for 'captive Greece' and a trope for Roman imperialism; the motif of the elegiac triumph, with varying figures playing the triumphator, as suggestive of Greco-Roman cultural rivalry; Rome's competing visions of an Attic and an Asiatic Hellenism. The second and the final chapter focus on the figures of Osiris and Isis, respectively, as emblematic of Rome's colonialist and ambivalent representation of Egypt, with the conclusion offering a deconstructive reading of elegy's rhetoric of orientalism.

This book is a pioneering attempt to explore the fascinating and hardly known realm of reciting poetry in medieval and Renaissance Italy. The study of more than 50 treatises on both music and poetry, as well as other literary sources and documents from the period between 1300 and 1600, highlights above all the practice of parlar cantando («speaking through singing - the term found in De li contrasti, a fourteenth-century treatise on poetry) as rooted in the art of reciting verses. Situating the practice of parlar cantando in the context of late medieval poetic delivery, the author sheds new light on the origin and history of late Renaissance opera style, which their inventors called stile recitativo, rappresentativo or, exactly, parlar cantando. The deepest roots of the Italian tradition of parlar cantando are thus revealed, and the cultural background of the birth of opera is reinterpreted and revisited from the much broader perspective of what appears to be the most important Italian mode of music making between the age of Dante and Petrarch and the beginning of Italian opera around 1600.

A Treasury of Virtues is a collection by the Fatimid Shafi'i judge al-Quda'i (d. 454 H/1062 AD) of sayings, sermons, and teachings attributed to 'Ali ibn Abi Talib (d. 40 H/661 AD). 'Ali was the cousin and son-in-law of the Prophet Muhammad, the first Shia Imam and the fourth Sunni Caliph. An acknowledged master of Arabic eloquence and a sage of Islamic wisdom, Ali was renowned for his words, which were collected, quoted, and studied over the centuries, and extensively anthologized, excerpted, and interpreted.

Of the many compilations of 'Ali's words, A Treasury of Virtues arguably possesses the broadest compass of genres, and the largest variety of themes. Included are aphorisms, proverbs, sermons, speeches, homilies, prayers, letters, dialogues and verse, all of which provide instruction on how to be a morally upstanding human being. The shorter compilation included here, One Hundred Proverbs, is attributed to the eminent writer al-Jahiz (d. 255 H/869 AD). This volume presents a new critical edition of the Arabic based on several original manuscripts, the first English translation of both these important collections, and an extended introduction.

This book examines the formation and development of the biographical traditions about early Greek poets, focusing on the traditions of Hesiod, Stesichorus, Archilochus, Hipponax, Terpander and Sappho. The study provides a detailed overview of the traditions and chronographical material about these poets and seeks to clarify who were the creators of the particular traditions; what were the sources; when the traditions were formed; and to what extent they are shaped by formulaic themes and story-patterns. It challenges several mainstream assumptions on the subject, for example, that the traditions were formed mainly in the Post-Classical period; that the only significant source for the legends is the works of the particular poet; and that the poets were perceived as new heroes.

The Egyptian Nonnus of Panopolis (5th century AD), author of both the 'pagan' Dionysiaca, the longest known poem from Antiquity (21,286 lines in 48 books, the same number of books as the Iliad and Odyssey combined), and a 'Christian' hexameter Paraphrase of St John's Gospel (3,660 lines in 21 books), is no doubt the most representative poet of Greek Late Antiquity. Brill's Companion to Nonnus of Panopolis provides a collection of 32 essays by a large international group of scholars, experts in the field of archaic, Hellenistic, Imperial, and Christian poetry, as well as scholars of late antique Egypt, Greek mythology and religion, who explore the various aspects of Nonnus' baroque poetry and its historical, religious and cultural background.

Aulus Gellius originated the modern use of 'classical' and 'humanities'. His Attic Nights, so named because they began as the intellectual pastime of winter evenings spent in a villa outside Athens, are a mine of information on many aspects of antiquity and a repository of much early Latin literature which would otherwise be lost; he took a particular interest in questions of grammar and literary style. The whole work is interspersed with interesting personal observations and vignettes of second-century life that throw light on the Antonine world. In this, the most comprehensive study of Gellius in any language, Dr Holford-Strevens examines his life, his circle of acquaintances, his style, his reading, his scholarly interests, and his literary parentage, paying due attention to the text, sense, and content of individual passages, and to the use made of him by later writers in antiquity, the Middle Ages, the Renaissance, and more recent times. It covers many subject areas such as language, literature, history, law, rhetoric, medicine; light is shed on a wide range of problems in Greek as well as Latin authors, either in the main text or in the succinct but wide-ranging footnotes. In this revised edition every statement has been reconsidered and account taken of recent work by the author and by others; an appendix has been added on the relation between the literary trends of Latin (the so-called archaizing movement) and Greek (Atticism) in the second century AD, and more space has been given to Gellius' attitudes towards women, as well as to recurrent themes such as punishment and embassies. The opportunity has been taken to correct or excise errors, but otherwise nothing has been removed unless superseded by more recent publications.

This study offers new approaches for considering the unique narrative possibilities of fairies in medieval romance, from Geoffrey of Monmouth's "Historia Regum Britannie" to Thomas Malory's "Morte d'Arthur." James Wade provides a counter-reading to theories of the Celtic origins of medieval fairies and suggests ways in which these unusual figures can help us think about the internal logics of medieval romance.

This volume is part of a collection of facsimile reprints integrating a wide range of Dante scholarship in eight thematic volumes. Illuminating the cosmos of Dante and providing the knowledge of a full range of fundamental ideas, issues, events and beliefs that characterized the world view of Dante's age. Dante's work has produced a prodigious body of secondary literature edited here for their exceptional quality and importance.

This work offers an examination of religious texts written by twelve women over three centuries in two languages and three genres, showing the variety and complexity of gendered images available to medieval women. Moving beyond the categories of virgin, wife and widow, these religious texts created a spectrum of exemplary feminine life-paths based not on marital status, age, social rank, or profession, but instead founded on biblical figures, monastic divisions of labour, expected saintly behaviours, and even individual personality characteristics.

Originally adapted for the stage, Peter Meineck's revised translations achieve a level of fidelity appropriate for classroom use while managing to preserve the wit and energy that led The New Yorker to judge his Clouds The best Greek drama we've ever seen anywhere," and The Times Literary Supplement to describe his Wasps as "Hugely enjoyable and very, very funny. A general Introduction, introductions to the plays, and detailed notes on staging, history, religious practice and myth combine to make this a remarkably useful teaching text.

Gender, Interpretation, and Political Rule in Sidney s Arcadia studies cultural ideologies regarding gender and monarchy in early modern England by examining transformations of a single text, Sir Philip Sidney s Arcadia, in their historical contexts. It reveals changing tensions in the ideological struggles over queenship, especially with respect to cultural debates focused on anxieties about gendered reception and interpretation of persuasive rhetoric. The cultural shift between about 1550 and 1650 regarding gendered interpretation and political rule a shift that was by no means complete or homogenous reflects the changing position of women and their relationship to language within early modern domestic and political ideological discourses. The book begins by investigating primary cultural, political, and historical sources in order to provide a cultural scaffolding helpful to the interpretation of Sidney s enormously popular work. These sources include conduct manuals, gynecocratic debates, paintings, poems, diaries, pamphlets, and letters. Gender, Interpretation, and Political Rule then considers the initial version of the Arcadia (the Old Arcadia) Sidney authored and argues that Sidney s involvement in the marriage debate regarding the Duke of Anjou s courtship of Elizabeth I in the late 1570s shaped his representations of female characters and their questionable ability to interpret persuasive rhetoric. Next, the book turns to Sidney s expanded and revised version (the New Arcadia), authorized and published by his sister the Countess of Pembroke Mary Sidney Herbert. The New Arcadia ultimately provides a more positive representation of women readers and rulers and reveals a shift in cultural understandings of women s relationship to the persuasive rhetoric that both describes and enacts political power and authority. The penultimate chapter examines paradigms of active reading and their political consequences in Lady Mary Wroth s The Countess of Montgomery s Urania that demonstrate a need for well-balanced identification with characters. Finally, this book focuses on a little-studied seventeenth-century continuation of Sidney s work by a young woman, Anna Weamys, who asserts her authority as an interpreter of Sidney s Arcadia and in the process creates a political commentary about the legitimacy of female authority and influence just after the English Civil War."

This book offers the first complete overview of Byzantine poetry from the 4th to the 15th century. By bringing together 22 scholars, it explores the development of poetic trends and the interaction between poetry and society throughout the Byzantine millennium; it addresses a wide range of issues concerning the writing and reading of poetry (such as style, language, metrics, function, and circulation); and it surveys a large number of texts by looking closely at their place within the social and cultural milieus of their authors. Overall, the volume aims to enhance our understanding of Byzantine poetry and shed light on its important place in Byzantine literary culture. Contributors are Eirini Afentoulidou, Gianfranco Agosti, Roderick Beaton, Floris Bernard, Carolina Cupane, Kristoffel Demoen, Ivan Drpic, Jurgen Fuchsbauer, Antonia Giannouli, Martin Hinterberger, Wolfram Hoerandner, Elizabeth Jeffreys, Michael Jeffreys, Marc Lauxtermann, Ingela Nilsson, Emilie van Opstall, Andreas Rhoby, Kurt Smolak, Foteini Spingou, Maria Tomadaki, Ioannis Vassis, Nikos Zagklas.

Between Medieval Men argues for the importance of synoptically examining the whole range of same-sex relations in the Anglo-Saxon period, revisiting well-known texts and issues (as well as material often considered marginal) from a radically different perspective. The introductory chapters first lay out the premises underlying the book and its critical context, then emphasise the need to avoid modern cultural assumptions about both male-female and male-male relationships, and underline the paramount place of homosocial bonds in Old English literature. Part II then investigates the construction of and attitudes to same-sex acts and identities in ethnographic, penitential, and theological texts, ranging widely throughout the Old English corpus and drawing on Classical, Medieval Latin, and Old Norse material. Part III expands the focus to homosocial bonds in Old English literature in order to explore the range of associations for same-sex intimacy and their representation in literary texts such as Genesis A, Beowulf, The Battle of Maldon, The Dream of the Rood, The Phoenix, and AElfric's Lives of Saints.
During the course of the book's argument, David Clark uncovers several under-researched issues and suggests fruitful approaches for their investigation. He concludes that, in omitting to ask certain questions of Anglo-Saxon material, in being too willing to accept the status quo indicated by the extant corpus, in uncritically importing invisible (because normative) heterosexist assumptions in our reading, we risk misrepresenting the diversity and complexity that a more nuanced approach to issues of gender and sexuality suggests may be more genuinely characteristic of the period.

This collection brings together established scholars and new names in the field of Tudor drama studies. Through a range of traditional and theoretical approaches, the essays address the neglected early and mid-Tudor period before the rise of the 'mature' drama of Marlowe and Shakespeare in the 1590s. New Ideas for research topics and pedagogical methods are discussed in the essays, which each provide original arguments about specific texts and/or performances while also providing an advanced introduction to a concentrated area of Tudor drama studies. While the continuation of mystery play performances and morality plays through the first three-quarters of the sixteenth century have been discussed with some consistency in the academy, other types of drama (e.g. folk or school plays) have received short shrift, and critical theory has been slow in coming to this scholarship. This collection begins to fill in these deficiencies and suggest fruitful directions for a twenty-first century revival in pre-Shakespearean Tudor drama studies.

A new analysis of the neglected genre of medieval Biblical poetry. Medieval England had a thriving culture of rewriting the Bible in art, drama, and literature in Latin, French and English. Middle English biblical poetry was central to this culture, and although these poems have suffered from critical neglect, sometimes dismissed as mere "paraphrase", they are rich, innovative and politically engaged. Read in the same gentry and noble households as secular romance, biblical poems borrow and adapt romance plots and motifs, present romance-inflected exotic settings, and share similar concerns: reputation, order, family and marriage. This book explores six poems from the thirteenth and fourteenth centuries that retell episodes from the Old Testament: the ballad-like Iacob and Iosep, two lives of Adam and Eve; an alliterative version of the Susanna story, the Pistel of Susan; and the Gawain-poet's Patience and Cleanness. Each chapter identifies new sources and influences for the poems, including from biblical glosses and manuscript illustration. The book also investigates the poems' relationships with contemporary cultures of literature and religion, including with secular romance, and offers new readings of each poem and its cultural functions, showing how they bridge the chasm between medieval Christian England and the Jews and pagans of the pre-Christian Mediterranean world. It also considers reading contexts, arguing that the poems and their manuscripts offer hints about the social class and gender of their household audiences.

Valerius Maximus was an indefatigable collector of historical anecdotes illustrating vice and virtue. His Memorable Deeds and Sayings are unparalleled as a source for the opinions of Romans in the early empire on a vast range of subjects.
Mueller focuses on what Valerius can tell us about contemporary Roman attitudes to religion, attacking several orthodoxies along the way. He argues that Roman religion could be deeply emotional. That it was possible to believe passionately in the divinity of the emperor - even when, like Tiberius, he was still alive - and that Rome's gods and religious rituals had an important role in fostering conventional morality.

eBook available with sample pages: 0203463269

This is the first study considering the reception of Greek tragedy and the transformation of the tragic idea in Hellenistic poetry. The focus is on third-century Alexandria, where the Ptolemies fostered tragedy as a theatrical form for public entertainment and as an official genre cultivated by the Pleiad, whereas the scholars of the Museum were commissioned to edit and comment on the classical tragic texts. More importantly, the notion of the tragic was adapted to the literary trends of the era. Released from the strict rules established by Aristotle about what makes a good tragedy, the major poets of the Alexandrian avant-garde struggled to transform the tragic idea and integrate it into non-dramatic genres. Tragic Failures traces the incorporation of the tragic idea in the poetry of Callimachus and Theocritus, in Apollonius' epic Argonautica, in the iambic Alexandra, in late Hellenistic poetry and in Parthenius' Erotika Pathemata. It offers a fascinating insight into the new conception of the tragic dilemmas in the context of Alexandrian aesthetics.

The fluidity of myth and history in antiquity and the ensuing rapidity with which these notions infiltrated and cross-fertilized one another has repeatedly attracted the scholarly interest. The understanding of myth as a phenomenon imbued with social and historical nuances allows for more than one methodological approaches. Within the wider context of interdisciplinary exchange of ideas, the present volume returns to origins, as it traces and registers the association and interaction between myth and history in various literary genres in Greek and Roman antiquity (i.e. an era when the scientific definitions of and distinctions between myth and history had not yet been perceived as such, let alone fully shaped and implemented), providing original ideas, new interpretations and (re)evaluations of key texts and less well-known passages, close readings, and catholic overviews. The twenty-four chapters of this volume expand from Greek epos to lyric poetry, historiography, dramatic poetry and even beyond, to genres of Roman era and late antiquity. It is the editors' hope that this volume will appeal to students and academic researchers in the areas of classics, social and political history, archaeology, and even social anthropology.

The history of European drama began at the festivals of Dionysus in ancient Athens, where tragedy, satyr-drama and comedy were performed. Understanding this background is vital for students of classical, literary and theatrical subjects, and Alan H. Sommerstein's accessible study is the ideal introduction.
The book begins by looking at the social and theatrical contexts and different characteristics of the three genres of ancient Greek drama. It then examines the five main dramatists whose works survive - Aeschylus, Sophocles, Euripides, Aristophanes and Menander - discussing their styles, techniques and ideas, and giving short synopses of all their extant plays.