Ancient Greece and Rome in Modern Science Fiction introduces and analyses the reception of classical antiquity in contemporary science fiction. By using up-to-date methods from classical reception theory, science-fiction analysis and fictional-world studies, the book will help furnish the reader's understanding of the ways in which the literature, culture, history and mythology of ancient Greece and Rome are appropriated and represented across multiple media platforms in the science-fiction genre today. The book will therefore serve as an entry point into several areas of study: the reception of classics in popular culture, antiquity in modern media, the uses of the ancient world in science-fiction, and broader science-fiction criticism. The chapters - structured by medium - principally offer a roughly chronological overview of that medium and its treatment of ancient history, mythology, literature and culture. An abundance of case studies from literature, film and television and videogames including Star Trek, Battlestar Galactica, Fallout: New Vegas, the Mass Effect franchise and Assassin's Creed show how classical antiquity is reused, encountered, re-encountered by creators and consumers of the present - how we bounce off it, and it bounces off us, and how this reciprocation creates new visions of Greece and of Rome.

Ovid's Fasti is a journey through ancient Rome, using the calendar as a guide. The reader of this poem tours the monuments of the Augustan-era city, witnesses both urban and rustic seasonal festivals, and commemorates the epic events of long-past history. The reader also experiences the passage of the year, as measured by the natural world: the rising and setting of constellations, the migration of birds, and the comforting rhythms of agriculture. Throughout, Ovid enlivens the narrative with myths, including Romulus and Remus, Callisto and Jupiter, Lucretia and Tarquinius, Hercules and Cacus, and many more. In doing so, he evokes the questions of what constitutes justice, or glory, or patriotism. The result is a lively tour of the Roman year-sometimes thoughtful, sometimes tragic, sometimes triumphant or even farcical-that interweaves human customs into the natural world, and gives occasional glimpses of awe-inspiring divinities on the streets of Rome. This volume covers the first half of the Fasti (Books I-III), including the original Latin text and also a new translation in clear, idiomatic prose on facing pages. An introduction on Ovid's life and Augustan literature, as well as an incisive commentary with up-to-date bibliography, give the reader extensive background to interpret the text.

This new edition corrects shortcomings of earlier editions by providing a text which incorporates neglected or unavailable material from Greek manuscripts, recently published papyri, and quotations from the orations by rhetoricians dating from antiquity through to the Byzantine period. All this information is presented in notes in Greek and Latin, which will not only allow convenient access to evidence for the text but will also provide references to ancient and medieval interpretations of the orations.

Incest was a social problem in the Middle Ages, and also a popular literary theme. This wide-ranging study is the first survey of medieval incest stories in their cultural context. Did they reflect real life situations? How was incest defined in the Middle Ages? How were classical incest stories treated by medieval writers? Why was incest such a popular motif in the legendary lives of popes and saints, and why was it inserted into the stories of great heroes such as Charlemagne and Arthur?

How does one construct a role for oneself in the fourth-century democratic city? This commentary on Isocrates' Antidosis , which includes a full translation as well as an extensive introduction, demonstrates that a rhetorician may do so by assuming roles that subvert many of the conventions invoked by the genre - a non-speaker in a rhetorical community, a rhetorician in a world where rhetorical performativity has derogatory connotations, a philosopher following the trial of Socrates. Moreover, Yun Lee Too demonstrates how the narrative of 'self' in the Antidosis is to be understood as a sophisticated amalgam of literary, rhetorical, philosophical, and legal discourses.

This first volume in the new Palgrave Literary Dictionaries series aims to provide readers with a convenient source of reliable, scholarly, and accessible information on Chaucer's work, life, and times. It consists mainly of alphabetical entries, ranging in length from 10 to 3,000 words. These cover topics and issues, including Chaucer's works, major fictional characters, historical, social, and political contexts, writers who influenced Chaucer or were influenced by him, people and places of significance in Chaucer's life, genres and traditions, manuscripts, editions, scholars and editors.

The Thirteenth-Century Animal Turn: Medieval and Twenty-First-Century Perspectives examines a wide range of texts to argue in favour of a thirteenth-century animal turn which not only generated a heightened scholarly awareness of animals but also had major implications for society more generally. Using diverse primary sources, the book considers the role of Aristotle in shaping thirteenth-century perspectives on natural history; Pope Innocent III's encouraging the use of animals in the theological and moral instruction of the laity; the increasing relevance of animals to the promotion and assertion of lay aristocratic identity; and the tension between violence and affection towards animals that pervaded the thirteenth century as it does the twenty-first. Analysing these many considerations, Nigel Harris also argues that the thirteenth century was an era in which traditional conceptions of the fundamental 'anthropological difference' between humans and animals was subjected to increasingly urgent questioning and challenge.

Modern theoretical approaches throw new light on the concepts of face and faciality in the Roman de la Rose and other French texts from the Middle Ages. In medieval French literature, faces feature heavily as markers of identity, mood, class, status, and even humanity. The information that they convey can be strategically concealed and revealed, but they are always understood to be legible. This book explores the face as a medieval literary motif and as a modern phenomenon, charting its limits and interrogating the idea of face as a universal signifier. It examines what happens when faces are not legible, when they are found on non-human surfaces, and when they migrate across the human body. It looks at faciality in a series of texts from the twelfth and thirteenth centuries, moving from Arthurian tales, through the Roman de la Rose to the fabliaux, as well as examining fourteenth-century manuscripts in which faces appear as disembodied doodles. Reading these texts in conjunction with twentieth-century theories of face and faciality, and considering the ideas behind twenty-first-century face recognition technology, this book argues that faces in the popular imagination tell us less about identity than they do about how we understand and interact with the world around us.

A follow-up publication to the Handbook of Medieval Studies, this new reference work turns to a different focus: medieval culture. Medieval research has grown tremendously in depth and breadth over the last decades. Particularly our understanding of medieval culture, of the basic living conditions, and the specific value system prevalent at that time has considerably expanded, to a point where we are in danger of no longer seeing the proverbial forest for the trees. The present, innovative handbook offers compact articles on essential topics, ideals, specific knowledge, and concepts defining the medieval world as comprehensively as possible. The topics covered in this new handbook pertain to issues such as love and marriage, belief in God, hell, and the devil, education, lordship and servitude, Christianity versus Judaism and Islam, health, medicine, the rural world, the rise of the urban class, travel, roads and bridges, entertainment, games, and sport activities, numbers, measuring, the education system, the papacy, saints, the senses, death, and money.

Eros, Song and Philosophy in Plato raises critical issues regarding conceptions of how song and philosophy in erotic contexts are treated by Plato in his attempt to rewrite, to some degree, the cultural tradition. A question that seems to be repeatedly raised throughout the Platonic dialogues is why it is precisely song that needs to be put aside before we can start doing philosophy - as a more serious and perfect kind of song. Extensive discussion of this key thematic cluster with an emphasis on the concept of beauty, which is harmoniously interwoven with eros and song, has been absent. Chara Kokkiou argues that there is a constant interplay among erotic, musical-poetic and spatial motifs and the way those are incorporated into the very essence of philosophical dialectic is indicative of the unique nature of Plato's philosophy. Her analysis centers on paiderastic and mousikos eros, which, if thoroughly purified, contribute significantly to the composition of Socrates' portrait as mousikos philosophos. The Socratic philosophical logos displays reformed erotic and song-authorized patterns, such as the power to inspire and heal. Through close reading of certain Platonic passages and detailed attention to choral and mythical patterns, such as those included in the eschatological myths of Republic and Phaedo, and to the descriptions of locus amoenus in Phaedrus and Laws, she demonstrates that Plato through his painstakingly purged philosophical model delineates the route towards

Written to honour the distinguished work and career of Alexandra F. Johnston, 'Bring furth the pagants' brings together original essays in early English drama by colleagues and students of the founder and director of the Records of Early English Drama Project

Editors David N. Klausner and Karen Sawyer Marsalek have grouped the contributions into three primary areas of Johnston's research: the study of documentary records in relation to drama, including new research on the York documents; the interpretation of early English drama, focusing both on the biblical plays and also on the moral interludes, including a broad survey of the role of the Expositor figure in English and French plays; and the drama of the later sixteenth and seventeenth centuries (Marlowe and Shakespeare) from the standpoint of its medieval background.

Diverse, thought-provoking, and original, this collection acts as an important complement to the REED volumes and provides a fitting tribute to the scholar it honours.

ContributorsCaroline M. BarronDavid BevingtonGarrett P.J. EppDavid N. KlausnerSally-Beth MacLeanKaren Sawyer MarsalekPeter MeredithDavid MillsBarbara D. PalmerK. Janet RitchMargaret RogersonChester ScovilleJ.A.B. SomersetMeg Twycross

Die Bibliotheca Teubneriana, gegrundet 1849, ist die weltweit alteste, traditionsreichste und umfangreichste Editionsreihe griechischer und lateinischer Literatur von der Antike bis zur Neuzeit. Pro Jahr erscheinen 4-5 neue Editionen. Samtliche Ausgaben werden durch eine lateinische oder englische Praefatio erganzt. Die wissenschaftliche Betreuung der Reihe obliegt einem Team anerkannter Philologen: Gian Biagio Conte (Scuola Normale Superiore di Pisa) Marcus Deufert (Universitat Leipzig) James Diggle (University of Cambridge) Donald J. Mastronarde (University of California, Berkeley) Franco Montanari (Universita di Genova) Heinz-Gunther Nesselrath (Georg-August-Universitat Goettingen) Dirk Obbink (University of Oxford) Oliver Primavesi (Ludwig-Maximilians Universitat Munchen) Michael D. Reeve (University of Cambridge) Richard J. Tarrant (Harvard University) Vergriffene Titel werden als Print-on-Demand-Nachdrucke wieder verfugbar gemacht. Zudem werden alle Neuerscheinungen der Bibliotheca Teubneriana parallel zur gedruckten Ausgabe auch als eBook angeboten. Die alteren Bande werden sukzessive ebenfalls als eBook bereitgestellt. Falls Sie einen vergriffenen Titel bestellen moechten, der noch nicht als Print-on-Demand angeboten wird, schreiben Sie uns an: [email protected] Samtliche in der Bibliotheca Teubneriana erschienenen Editionen lateinischer Texte sind in der Datenbank BTL Online elektronisch verfugbar.

Ancient Greek Philosophy routinely relied upon concepts of number to explain the tangible order of the universe. Plotinus' contribution to this tradition, however, has been often omitted, if not ignored. The main reason for this, at first glance, is the Plotinus does not treat the subject of number in the Enneads as pervasively as the Neopythagoreans or even his own successors Lamblichus, Syrianus, and Proclus. Nevertheless, a close examination of the Enneads reveals that Plotinus systematically discusses number in relation to each of his underlying principles of existence--the One, Intellect, and Soul. Plotinus on Number offers the first comprehensive analysis of Plotinus' concept of number, beginning with its origins in Plato and the Neopythagoreans and ending with its influence on Porphyry's arrangement of the Enneads. It's main argument is that Plotinus adapts Plato's and the Neopythagoreans' cosmology to place number in the foundation of the intelligible realm and in the construction of the universe. Through Plotinus' defense of Plato's Ideal Numbers from Aristotle's criticism, Svetla Slaveva-Griffin reveals the founder of Neoplatonism as the first post-Platonic philosopher who purposefully and systematically develops what we may call a theory of number, distinguishing between number in the intelligible realm and number in the quantitative, mathematical realm. Finally, the book draws attention to Plotinus' concept as a necesscary and fundamental linke between Platonic and late Neoplatonic schools of philosophy.

New studies of the problem of medieval masculinity, and Chaucer's treatment of it. Issues relating to the male characters and the construction of masculinities in Chaucer's masterpiece of love found and love lost are explored here. Collectively the essays address the question of what it means to be a man in theMiddle Ages, what constitutes masculinity in this era, and how such masculinities are culturally constructed; they seek to advance scholarly understanding of the themes, characters, and actions of Troilus and Criseyde through thehermeneutics of medieval and modern concepts of manliness. Throughout, they argue that Troilus and the other characters, including Criseyde, are subject to multiple and conflicting interpretations, especially in regard to the intersections of their genders with their sexual performances and their conflicted relationships to generic expectations for gendered conduct. Contributors: JOHN M. BOWERS, MICHAEL CALABRESE, HOLLY A. CROCKER, KATE KOPPELMAN,MOLLY MARTIN, MARCIA SMITH MARZEC, GRETCHEN MIESZKOWSKI, JAMES J. PAXSON, TISON PUGH, R. ALLEN SHOAF, ROBERT S. STURGES, ANGELA JANE WEISL, RICHARD ZEIKOWITZ

Arrian's Alexandrou Anabasis constitutes the most reliable account at our disposal about Alexander the Great's campaign in Asia. However, whereas the work has been thoroughly studied as a historical source, its literary qualities have been relatively neglected, with no autonomous monograph existing on this matter. Vasileios Liotsakis fills this gap in the studies of Alexander the Great's literary tradition, by offering the first monograph on Arrian's compositional strategies. Liotsakis focuses on the narrative techniques and verbal choices, through which Arrian allows praise and criticism to intermingle in his portrait of the Macedonian king. His main point of argument is that Arrian systematically exploits an abundance of narrative means (military descriptions, presentation of peoples, march-narratives, anachronies, and epic elements) in order to draw the reader's attention not only to Alexander's intellectual skills but also to the fact that the king was gradually corrupted by his success. This book puts Arrian's literary contrivances under the microscope, sheds new light on unexplored aspects of the Anabasis' narrative arrangement, and contributes to the studies of Alexander's prosopography in Classical historiography.

Global Medieval Contexts 500-1500: Connections and Comparisons provides a unique wide-lens introduction to world history during this period. Designed for students new to the subject, this textbook explores vital networks and relationships among geographies and cultures that shaped medieval societies. The expert author team aims to advance a global view of the period and introduce the reader to histories and narratives beyond an exclusively European context. Key Features: Divided into chronological sections, chapters are organized by four key themes: Religion, Economics, Politics, and Society. This framework enables students to connect wider ideas and debates across 500 to 1500. Individual chapters address current theoretical discussions, including issues around gender, migration, and sustainable environments. The authors' combined teaching experience and subject specialties ensure an engaging and accessible overview for students of history, literature, and those undertaking general studies courses. Theory boxes and end-of-chapter questions provide a basis for group discussion and research. Full-color maps and images illustrate chapter content and support understanding. As a result, this text is essential reading for all those interested in learning more about the histories and cultures of the period, as well as their relevance to our own contemporary experiences and perspectives. This textbook is supported by a companion website providing core resources for students and lecturers.

Between c.250 and c.650, the way the past was seen, recorded and interpreted for a contemporary audience changed fundamentally. Only since the 1970s have the key elements of this historiographical revolution become clear, with the recasting of the period, across both east and west, as 'late antiquity'. Historiography, however, has struggled to find its place in this new scholarly world. No longer is decline and fall the natural explanatory model for cultural and literary developments, but continuity and transformation. In addition, the emergence of 'late antiquity' coincided with a methodological challenge arising from the 'linguistic turn' which impacted on history writing in all eras. This book is focussed on the development of modern understanding of how the ways of seeing and recording the past changed in the course of adjusting to emerging social, religious and cultural developments over the period from c.250 to c.650. Its overriding theme is how modern historiography has adapted over the past half century to engaging with the past between c.250 and c.650. Now, as explained in this book, the newly dominant historiographical genres (chronicles, epitomes, church histories) are seen as the preferred modes of telling the story of the past, rather than being considered rudimentary and naive.

These original essays mean to provoke rather than reassure, to challenge rather than codify. Instead of summarizing existing knowledge after the fashion of the now-ubiquitous literary 'companions, ' these essays aim at opening fresh discussion; instead of emphasizing settled consensus they direct their readers to areas of enlivened and unresolved debate. Although 'major authors' such as Chaucer and Langland are richly represented, many little-known and neglected texts are considered as well. Analysis is devoted not only to self-sufficient works, but to the general conditions of textual production and reception. Contributors to this collection include some recognized and admired names, but also a good many newer faces: younger scholars whose groundbreaking research is just coming into full view, and whose perspectives will influence the terms of literary discussion in the decades to come. Encouraged to speculate, they have addressed topics that unsettle previous categories of investigation. Each is oriented toward the emergent, the unfinalized, the yet-to-be-done. Each essay stirs new questions and concludes with suggestions for further reading and investigation that will allow readers to extend their own research into the questions it has raised.

This collection of essays, published in honour of Professor Georgia Xanthakis-Karamanos, addresses topics which lie at the forefront of current research on the fields of Greek drama and classical reception studies. It brings together internationally distinguished scholars who provide fresh insights into issues pertaining to the origins of Greek tragedy and comedy, their generic identity, the structure, the morality or the divine and human characters emerging from individual plays, the presence of Greek drama outside Athens in post-classical times, the associations between drama and genres such as epic and oratory or even the reception of Greek drama in operatic works such as Wagner's Tristan und Isolde. Related art forms, such as music, receive particular attention. Focusing on either broader topics or specific texts, the essays of this volume provide a wide range of theoretical perspectives often combining modern critical trends such as reception studies, narratology or cultural studies with close and acute readings of individual passages. The volume is of particular interest to scholars and students of Greek drama and its reception as well as to anyone interested in Greek culture and its various manifestations.

The Attic Orators' have left us a hundred speeches for lawsuits, a body of work that reveals an important connection between evolving rhetoric and the jury trial. The essays in this volume explore that formative linkage, representing the main directions of recent work on the Orators: the emergence of technical manuals and ghost-written speeches for prospective litigants; the technique for adapting documentary evidence to common-sense notions about probable motives and typical characters; and profiling the jury as the ultimate arbiter of values. An Introduction by the editor explores the speechwriter's art in terms of the imagined community. Four essays appear in English here for the first time, and all Greek has been translated.

Some of medieval culture's most arresting images and stories inextricably associate love and death. Thus the troubadour Jaufre Rudel dies in the arms of the countess of Tripoli, having loved her from afar without ever having seen her. Or in Marie de France's Chevrefoil, Tristan and Iseult's fatal love is hauntingly symbolized by the fatally entwined honeysuckle and hazel. And who could forget the ethereal spectacle of the Damoisele of Escalot's body carried to Camelot on a supernatural funerary boat with a letter on her breast explaining how her unrequited love for Lancelot killed her? Medieval literature is fascinated with the idea that love may be a fatal affliction. Indeed, it is frequently suggested that true love requires sacrifice, that you must be ready to die for, from, and in love. Love, in other words, is represented, sometimes explicitly, as a form of martyrdom, a notion that is repeatedly reinforced by courtly literature's borrowing of religious vocabulary and imagery. The paradigm of the martyr to love has of course remained compelling in the early modern and modern period.
This book seeks to explore what is at stake in medieval literature's preoccupation with love's martyrdom. Informed by modern theoretical approaches, particularly Lacanian psychoanalysis and Jacques Derrida's work on ethics, it offers new readings of a wide range of French and Occitan courtly texts from the twelfth and thirteenth centuries, and argues that a new secular ethics of desire emerges from courtly literature because of its fascination with death. This book also examines the interplay between lyric and romance in courtly literary culture and shows how courtly literature's predilection forsacrificial desire imposes a repressive sex-gender system that may then be subverted by fictional women and queers who either fail to die on cue, or who die in troublesome and disruptive ways.

The presentation of the magical and mantic in Celtic literature has persistently been dogged by misunderstanding and over-romanticized readings. Among the misconceptions about the ancient and medieval Celtic peoples, the notion of a specifically 'Celtic' astrology remains widespread in the popular mind. This study aims to counter such myth-making, and to demonstrate how a number Irish and Welsh literary writers in the medieval and Early Modern period conceived of portents in the heavens - comets, blood-coloured moons, darkened suns - and what they knew of the complex art of astrology.
Early Irish churchmen felt that the end of the world was imminent, and this book explores the ways in which they saw signs in the heavens as evidence of impending apocalypse, and how they adapted such millenarian imagery for use in native sagas in Irish. It then moves on to an extended discussion of the cloud-divination ascribed to Irish druids in high medieval literary texts; this has sometimes naively been taken as evidence for the actual customs of the druidic caste, but it is shown here to be a development of the later Middle Ages, long after the druids' disappearance. Turning to Wales, the cosmological knowledge of two linked figures is scrutinized: the super-poet Taliesin, and King Arthur's prophet Merlin, whom Geoffrey of Monmouth represented in the mid 12th century as an astrological sage with a purpose-built observatory. Evidence for the knowledge of astrology amongst the learned poets of later medieval Wales is then laid out, with an analysis of a powerful late 15th century poem indicting the evil influence of the planet Saturn; such knowledge seems to have been largely medical in nature, and the book concludes with an examination of a number of Welsh astrological texts in manuscript, setting them against the longest astrological poem in a Celtic language, the mid 17th century Puritan mystic Morgan Llwyd's spiritualizing and evangelical 'Heavenly Science'.

1000-PIECE PUZZLE featuring the women of Greek mythology as you've never seen them before. Finished puzzle measures 680 x 485mm SPOT FAMOUS FIGURES AND MYTHICAL MOMENTS, as you build the puzzle - can you find Pandora and her jar, or Medusa with snakes for hair? INCLUDES A FOLD-OUT POSTER featuring the stories of the real women of Greek myth from best-selling author and classicist Natalie Haynes STURDY & ATTRACTIVE BOX perfect for gifting and storage Think you know these women? Put the pieces together and you will start to think again. In this beautifully illustrated 1,000-piece jigsaw puzzle, rediscover the lives and stories of the women of Greek myth, portrayed by author, broadcaster and classicist Natalie Haynes with illustrator Natalie Foss. A large fold-out poster of the artwork accompanies the jigsaw and also includes an original essay from the author, expanding on the stories, relationships and context surrounding these infamous women. Featuring mortals and goddesses alike, from Medusa and Medea to Helen, Euridice, Aphrodite, Phaedra, Artemis and more, uncover the truth about the women of the classics.

Through a multidisciplinary collection of case studies, this book explores the effects of the digital age on medieval and early modern studies. Divided into two parts, the book examines how people, medieval and modern, engage with medieval media and technology through an exploration of the theory underpinning audience interactions with historical materials in the past and the real-world engagement of a twenty-first century audience with medieval and early modern studies through the multimodal lens of a vast digital landscape. Each case study reveals the diversity of medieval media and technology and challenges readers to consider new types of literacy competencies as scholarly, rigorous methods of engaging in pre-modern investigations of materiality. Essays in the first section engage in the examination of medieval media, mediation, and technology from a theoretical framework, while the second section explores how digitization, smart-technologies, digital mapping, and the internet have shaped medieval and early modern studies today. The book will be of interest to students in undergraduate or graduate intermediate or advanced courses as well as scholars, in medieval studies, art history, architectural history, medieval history, literary history, and religious history.

The Acts of the Apostles includes persuasive speeches, but the whole story should also be seen as an act of persuasion. In How Ancient Narratives Persuade: Acts in Its Literary Context, Eric Clouston takes a fresh approach to interpreting Acts, treating it as a persuasive narrative. Comparison with other Greek narratives allows Clouston to show how events and characters--and how they are described as worthy of trust, empathy, or respect, as well as their speeches and narrator asides--all have different persuasive effects. His examination of the persuasive effects of narrative in Acts leads at last to conclusions about the purpose of the work directed to a readership unconvinced by the figure of Paul.