Athenian comedy is firmly entrenched in the classical canon, but imperial authors debated, dissected and redirected comic texts, plots and language of Aristophanes, Menander, and their rivals in ways that reflect the non-Athenocentric, pan-Mediterranean performance culture of the imperial era. Although the reception of tragedy beyond its own contemporary era has been studied, the legacy of Athenian comedy in the Roman world is less well understood. This volume offers the first expansive treatment of the reception of Athenian comedy in the Roman Empire. These engaged and engaging studies examine the lasting impact of classical Athenian comic drama. Demonstrating a variety of methodologies and scholarly perspectives, sources discussed include papyri, mosaics, stage history, epigraphy and a broad range of literature such as dramatic works in Latin and Greek, including verse satire, essays, and epistolary fiction.

In the medieval world, geographical knowledge was influenced by religious ideas and beliefs. Whereas this point is well analysed for the Latin-Christian world, the religious character of the Arabic-Islamic geographic tradition has not yet been scrutinised in detail. This volume addresses this desideratum and combines case studies from both traditions of geographic thinking. The contributions comprise in-depth analyses of individual geographical works as for example those of al-Idrisi or Lambert of Saint-Omer, different forms of presenting geographical knowledge such as TO-diagrams or globes as well as performative aspects of studying and meditating geographical knowledge. Focussing on texts as well as on maps, the contributions open up a comparative perspective on how religious knowledge influenced the way the world and its geography were perceived and described int the medieval world.

Launching a much-needed new series discussing each comedy that survives from the ancient world, this volume is a vital companion to Terence's earliest comedy, Andria, highlighting its context, themes, staging and legacy. Ideal for students it assumes no knowledge of Latin, but is helpful also for scholars wanting a quick introduction. This will be the first port of call for anyone studying or researching the play. Though Andria launched Terence's career as a dramatist at Rome, it has attracted comparatively little attention from modern critics. It is nevertheless a play of great interest, not least for the sensitivity with which it portrays family relationships and for its influence on later dramatists. It also presents students of Roman comedy with all the features that came to characterize Terence's particular version of traditional comedy, and it raises all the interpretive questions that have dogged the study of Terence for generations. This volume will use a close reading of the play to explore the central issues in understanding Terence's style of play-making and its legacy.

Ranging from Chretien de Troyes to Shakespeare, this study proposes that the chivalric romance is characterized by a centerless structure, a self-conscious fictionality and a sense of irony. The genre's form is tied to historical reality, yet represents the archetype of imaginative literature, creating multifold fantasy worlds which audiences inhabit in denial of their real-life social contexts. Through irony, the romance precludes conclusive interpretations, enjoining readers to confront the suspension of truth in their own lives.

Numerous books have been written about Greek tragedy, but almost all of them are concerned with the 32 plays that still survive. This book, by contrast, concentrates on the plays that no longer exist. Hundreds of tragedies were performed in Athens and further afield during the classical period, and even though nearly all are lost, a certain amount is known about them through fragments and other types of evidence. Matthew Wright offers an authoritative two-volume critical introduction and guide to the lost tragedies. This first volume examines the remains of works by playwrights such as Phrynichus, Agathon, Neophron, Critias, Astydamas, Chaeremon, and many others who have been forgotten or neglected. (Volume 2 explores the lost works of Aeschylus, Sophocles and Euripides.) What types of evidence exist for lost tragedies, and how might we approach this evidence? How did these plays become lost or incompletely preserved? How can we explain why all tragedians except Aeschylus, Sophocles and Euripides became neglected or relegated to the status of 'minor' poets? What changes and continuities can be detected in tragedy after the fifth century BC? Can the study of lost works and neglected authors change our views of Greek tragedy as a genre? This book answers such questions through a detailed study of the fragments in their historical and literary context. Including English versions of previously untranslated fragments as well as in-depth discussion of their significance, The Lost Plays of Greek Tragedy makes these works accessible for the first time.

Do you believe in love at first sight? The Greeks and the Romans certainly did. But far from enjoying this romantic moment carefree, they saw it as a cruel experience and an infection. Then what are the symptoms of falling in love? Are there any remedies? Any form of immunity? This book explores the conception of love (eros) as a physical, emotional, and mental disease, a social-ethical disorder, and a literary unorthodoxy in Greek and Latin literature. Through illustrative case studies, the contributors to this volume examine two distinct, yet historically and poetically interrelated traditions of 'pathological love': lovesickness as/similar to disease and deviant sexuality described in nosologic terms. The chapters represent a wide range of genres (lyric poetry, philosophy, oratory, comedy, tragedy, elegy, satire, novel, and of course medical literature) and a fascinating synthesis of methodologies and approaches, including textual criticism, comparative philology, narratology, performance theory, and social history. The book closes with an anthology of Greek and Latin passages on pathological eros. While primarily aimed at an academic readership, the book is accessible to anyone interested in Classics and/or the theme of love.

Ibn Bagga's commentary on Aristotle's On Generation and Corruption (Kitab al-Kawn wa-l-fasad, Latin De generatione et corruptione) is one of the first commentaries to elaborate on the essential aspect of Aristotle's text, that is, the analysis of change ( , tagayyur). The commentary's extant parts comprise a consecutive exposition of the contents of Aristotle's work. However, the commentary may be read more as an introduction or a guide to the topic of generation than as a substitution for the original, as the paraphrases by Averroes seem to have become in the later tradition. The present study provides a new critical edition of the Arabic text and, for the first time, an English translation and a study of the structure of the commentary on the basis of the only two known manuscripts.

In this new volume, Jan Haywood and Naoise Mac Sweeney investigate the position of Homer's Iliad within the wider Trojan War tradition through a series of detailed case studies. From ancient Mesopotamia to twenty-first century America, these examples are drawn from a range of historical and cultural contexts; and from Athenian pot paintings to twelfth-century German scholarship, they engage with a range of different media and genres. Inspired by the dialogues inherent in the process of reception, the book adopts a dialogic structure. In each chapter, paired essays by Haywood and Mac Sweeney offer contrasting authorial voices addressing a single theme, thereby drawing out connections and dissonances between a diverse suite of classical and post-classical Iliadic receptions. The resulting book offers new insights, both into individual instances of Iliadic reception in particular historical contexts, but also into the workings of a complex story tradition. The centrality of the Iliad within the wider Trojan War tradition is shown to be a function of conscious engagement not only with Iliadic content, but also with Iliadic status and the iconic idea of the Homeric.

A folkloric research project on Sefer ha-ma'asim.

Virgil's Georgics depicts the world and its peoples in great detail, but this geographical interest has received little detailed scholarly attention. Hundreds of years later, readers in the British empire used the poem to reflect upon their travels in acts of imagination no less political than Virgil's own. Virgil's Map combines a comprehensive survey of the literary, economic, and political geography of the Georgics with a case study of its British imperial reception c. 1840-1930. Part One charts the poem's geographical interests in relation to Roman power in and beyond the Mediterranean; shifting readers' attention away from Rome, it explores how the Georgics can draw attention to alternative, non-Roman histories. Part Two examines how British travellers quoted directly from the poem to describe peoples and places across the world, at times equating the colonial subjects of European empires to the 'happy farmers' of Virgil's poem, perceived to be unaware, and in need, of the blessings of colonial rule. Drawing attention to the depoliticization of the poem in scholarly discourse, and using newly discovered archival material, this interdisciplinary work seeks to re-politicize both the poem and its history in service of a decolonizing pedagogy. Its unique dual focus allows for an extended exploration, not just of geography and empire, but of Europe's long relationship with the wider world.

In this book, conceived as a sort of Prolegomena to his two Teubner editions, Conte gives account of his choices in editing his Virgilian text. Engaging in a passionate debate with his predecessors and critics, he guides the reader in a fascinating journey in the history of transmission and interpretation of Georgics and Aeneid and shows how lively textual criticism can be.

Essays on aspects of medieval French literature, celebrating the scholarship of Sarah Kay and her influence on the field. Sarah Kay is one of the most influential medievalists of the past fifty years, making vital, theoretically informed interventions on material from early medieval chansons de geste, through troubadour lyric, to late medieval philosophy and poetry, in French, Occitan, Latin, and Italian. This volume in her honour is organised around her six major monographs, published between 1990 and 2017. Its essays engage in critical, constructive dialogue with different aspects of Kay's work, and envisage how these might shape medieval French as a discipline in coming years or decades. The subject matters demonstrate the richness of the discipline: animal studies, musicology, temporality, the material turn, medieval textuality, feminism, queer theory, voice, medieval and modern intellectual formations, psychoanalysis, philology, visual arts, transversal criticism, the literary object, affect, rhetoric, body, the past, modern responses to medieval forms and tropes, non-Christian texts and thought-patterns, politics. Reiterating Kay's engagement with medieval literature's complex philosophical debates and analytical scrutiny of human knowledge and affect, they follow her in emphasising how the pleasure of reading medieval literature depends crucially on that literature's intellectual robustness. These essays shed new light on a range of canonical and less well-known medieval texts and artefacts, to present a fresh perspective on the field of medieval studies.

Described as the Mona Lisa of literature and the world's first detective story, Sophocles' Oedipus the King is a major text from the ancient Greek world and an iconic work of world literature. Aristotle's favourite play, lauded by him as the exemplary Athenian tragedy, Oedipus the King has retained its power both on and off the stage. Before Freud's famous interpretation of the play - an appropriation, some might say - Hlderlin and Nietzsche recognised its unique qualities. Its literary worth is undiminished, philosophers revel in its probing into issues of freedom and necessity and Lacan has ensured its vital significance for post-Freudian psychoanalysis. This Reader's Guide begins with Oedipus as a figure from Greek mythology before focusing on fifth-century Athenian tragedy and the meaning of the drama as it develops scene by scene on the stage. The book covers the afterlife of the play in depth and provides a comprehensive guide to further reading for students.

Why do we love wizards? Where do these magical figures come from? Thinking Queerly traces the wizard from medieval Arthurian literature to contemporary YA adaptations. By exploring the link between Merlin and Harry Potter, or Morgan le Fay and Sabrina, readers will see how the wizard offers spaces of hope and transformation for young readers. In particular, this book examines how wizards think differently, and how this difference can resonate with both LGBTQ and neurodivergent readers, who've been told they don't fit in.

This book offers a concise introduction to Xenophon, the Athenian historian, political thinker, moral philosopher and literary innovator who was also a pupil of Socrates, a military general on campaign in Persia, and an exile in residence in the Peloponnese during the late fifth and fourth centuries BC. Alive during one of the most turbulent periods in Greek history, Xenophon wrote extensively about the past and present. In doing so he not only invented several new genres, but also developed pointed political analyses and probing moral critiques. It is the purpose of this book to explore Xenophon's life, writing and ideas, and reception through thematic studies that draw upon the full range of his work. Starting with his approach to the past and to Socrates, it demonstrates how the depiction of events and people from previous times and places are inflected with contemporary concerns about political instability and the challenges of leadership, as well as by a 'Socratic' perspective on politics and morality. The following in-depth examination of Xenophon's theories concerning political organization and the bases for a good life highlight the interconnectivity of his ideas about how to live together and how to live well. Although Xenophon addresses conceptual issues, his writings provide a practical response to real-life problems. Finally, an evaluation of his significance as an inspiration to later writers in their creative interrogations of human affairs brings the investigations to a close. This book thus illuminates Xenophon's importance within the vibrant intellectual culture of ancient Greece as an active participant in and evaluator of his world, as well as his impact over time.

Greek Heroes in and out of Hades is a study on heroism and mortality from Homer to Plato. In a collection of thirty enjoyable essays, Stamatia Dova combines intertextual research and thought-provoking analysis to shed new light on concepts of the hero in the Iliad and the Odyssey, Bacchylides 5, Plato's Symposium, and Euripides' Alcestis. Through systematic readings of a wide range of seemingly unrelated texts, the author offers a cohesive picture of heroic character in a variety of literary genres. Her characterization of Achilles, Odysseus, and Heracles is artfully supported by a comprehensive overview of the theme of descent to the underworld in Homer, Bacchylides, and Euripides. Aimed at the specialist as well as the general reader, Greek Heroes in and out of Hades brings innovative Classical scholarship and insightful literary criticism to a wide audience.

Oedipus, king of Thebes, is one of the giant figures of ancient mythology. Through the centuries, his story has inspired works of epic poetry, lyric poetry, tragedy, opera, a gospel musical and more. The myth has been famously deployed in psychology by Sigmund Freud. It may not be too bold to claim that Oedipus is the name from Greco-Roman mythology best known beyond the academy at the present time, thanks to Freud's famous phrase 'the Oedipus complex'. The most famous version of the Oedipus myth from antiquity is the Greek play by Sophocles. But there is another version, the Latin drama by the Roman philosopher and politician Seneca. Seneca's version is an entirely different treatment from that of Sophocles and reflects concerns special to the author and his Roman audience in the first century AD. Moreover, the play actually exercised a much greater influence on European literature and thought than has usually been suspected. This book offers a compact and incisive study of the multi-faceted Oedipus myth, of Seneca as dramatist, of the distinctive characteristics of Seneca's play and of the most important aspects of the reception of the play in European drama and culture. The scope of the book ranges chronologically from Homer's treatment of Oedipus myth in the Odyssey down to a twenty-first century Senecan treatment by a Lebanese Canadian dramatist. No knowledge of Latin or other foreign languages is required.

Examining tales of notorious figures in Renaissance England, including the mercenary Thomas Stukeley, the Barbary corsair John Ward, and the wandering adventurers the Sherley brothers, Laurie Ellinghausen sheds new light on the construction of the early modern renegade and its depiction in English prose, poetry, and drama during a period of capitalist expansion. Unlike previous scholarship which has focused heavily on positioning rogue behaviour within the dialogue of race, gender, religion, and nationalism, Pirates, Traitors, and Apostates: Renegade Identities in Early Modern England shows how domestic issues of class and occupation exerted a major influence on representations of renegades, and heightened their appeal to the diverse audiences of early modern England. By looking at renegade tales from this perspective, Ellinghausen reveals a renegade, who, despite being stigmatized as an outsider, becomes a major profiteer during the period of early expansion, and ultimately a key figure in the creation of a national English identity.

Pantomime was arguably the most popular dramatic genre during the Roman Empire, but has been relatively neglected by literary critics. Seneca's Tragedies and the Aesthetics of Pantomime adds to our understanding of Seneca's tragic art by demonstrating that elements which have long puzzled scholars can be attributed to the influence of pantomime. The work argues that certain formal features which depart from the conventions of fifth-century Attic drama can be explained by the influence of, and interaction with, this more popular genre. The work includes a detailed and systematic analysis of the specific pantomime-inspired features of Seneca's tragedies: the loose dramatic structure, the presence of "running commentaries" (minute descriptions of characters undergoing emotional strains or performing specific actions), of monologues of self-analysis, and of narrative set-pieces. Relevant to the culture of Roman imperial culture more generally, Seneca's Tragedies and the Aesthetics of Pantomime includes an outline of the general features of pantomime as a genre. The work shows that the influence of sub-literary-genres such as pantomime and mime, the sister art of pantomime, can be traced in several Roman writers whose literary production was antecedent or contemporary with Seneca's. Furthermore, the work sheds light on the interaction between sub-literary genres of a performative nature such as mime and pantomime and more literary ones, an aspect of Latin culture which previous scholarship has tended to overlook. Seneca's Tragedies and the Aesthetics of Pantomime provides an original contribution to the understanding of the impact of pantomime on Roman literary culture and of controversial and little-understood features of Senecan tragedies.

Monsters in Greek literature are often thought of as creatures which exist in mythological narratives, however, as this book shows, they appear in a much broader range of ancient sources and are used in creation narratives, ethnographic texts, and biology to explore the limits of the human body and of the human world. This book provides an in-depth examination of the role of monstrosity in ancient Greek literature. In the past, monsters in this context have largely been treated as unimportant or analysed on an individual basis. By focusing on genres rather than single creatures, the book provides a greater understanding of how monstrosity and abnormal bodies are used in ancient sources. Very often ideas about monstrosity are used as a contrast against which to examine the nature of what it is to be human, both physically and behaviourally. This book focuses on creation narratives, ethnographic writing, and biological texts. These three genres address the origins of the human world, its spatial limits, and the nature of the human body; by examining monstrosity in these genres we can see the ways in which Greek texts construct the space and time in which people exist and the nature of our bodies. This book is aimed primarily at scholars and students undertaking research, not only those with an interest in monstrosity, but also scholars exploring cultural representations of time (especially the primordial and mythological past), ancient geography and ethnography, and ancient philosophy and science. As the representation of monsters in antiquity was strongly influential on medieval, renaissance, and early modern images and texts, this book will also be relevant to people researching these areas.