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.

This volume offers the author's central articles on the medieval and early modern history of cartography for the first time in English translation. A first group of essays gives an overview of medieval cartography and illustrates the methods of cartographers. Another analyzes world maps and travel accounts in relation to mapped spaces. A third examines land surveying, cartographical practices of exploration, and the production of Portolan atlases.

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.

Regarded as ancient Greece's greatest orator, Demosthenes lived through and helped shape one of the most eventful epochs in antiquity. His political career spanned three decades, during which time Greece fell victim to Macedonian control, first under Philip II and then Alexander the Great. Demosthenes' resolute and courageous defiance of Philip earned for him a reputation as one of history's outstanding patriots. He also enjoyed a brilliant and lucrative career as a speechwriter, and his rhetorical skills are still emulated today by students and politicians alike. Yet he was a sickly child with an embarrassing speech impediment, who was swindled out of much of his family's estate by unscrupulous guardians after the death of his father. His story is one of triumph over adversity. Modern studies of his life and career take one of two different approaches: he is either lauded as Greece's greatest patriot or condemned as an opportunist who misjudged situations and contributed directly to the end of Greek freedom. This new biography, the first ever written in English for a popular audience, aims to determine which of these two people he was: self-serving cynic or patriot - or even a combination of both. Its chronological arrangement brings Demosthenes vividly to life, discussing his troubled childhood and youth, the obstacles he faced in his public career, his fierce rivalries with other Athenian politicians, his successes and failures, and even his posthumous influence as a politician and orator. It offers new insights into Demosthenes' motives and how he shaped his policy to achieve political power, all set against the rich backdrop of late classical Greece and Macedonia.

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.

Biological literature of the Roman imperial period remains somehow 'underestimated'. It is even quite difficult to speak of biological literature for this period at all: biology (apart from medicine) did not represent, indeed, a specific 'subgenre' of scientific literature. Nevertheless, writings as disparate as Philo of Alexandria's Alexander, Plutarch's De sollertia animalium or Bruta ratione uti, Aelian's De Natura Animalium, Oppian's Halieutika, Pseudo-Oppian's Kynegetika, and Basil of Caeserea's Homilies on the Creation engage with zoological, anatomic, or botanical questions. Poikile Physis examines how such writings appropriate, adapt, classify, re-elaborate and present biological knowledge which originated within the previous, mainly Aristotelian, tradition. It offers a holistic approach to these works by considering their reception of scientific material, their literary as well as rhetorical aspects, and their interaction with different socio-cultural conditions. The result of an interdisciplinary discussion among scholars of Greek studies, philosophy and history of science, the volume provides an initial analysis of forms and functions of biological literature in the imperial period.

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

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.

This volume aims to provide an interdisciplinary examination of various facets of being alone in Greco-Roman antiquity. Its focus is on solitude, social isolation and misanthropy, and the differing perceptions and experiences of and varying meanings and connotations attributed to them in the ancient world. Individual chapters examine a range of ancient contexts in which problems of solitude, loneliness, isolation and seclusion arose and were discussed, and in doing so shed light on some of humankind's fundamental needs, fears and values.

This book focus on Athenian art in the second half of the fifth century, one of the most important periods of ancient art. Including papers on architecture, sculpture, and vase painting the volume offers new and before unpublished material as well as new interpretations of famous monuments like the sculptures of the Parthenon. The contributions go back to an international conference at the American School of Classical Studies, Athens.

Philology, philosophy, commentary and reception in Plutarch's work are only some of the main topics discussed within a large academic output devoted to the writer of Chaeronea by Professor Paola Volpe Cacciatore. The volume is divided into four sections: Plutarchean Fragments, Quaestiones convivales, Religion & Philosophy, and Plutarch's Reception from Humanism to Modern Times. The eighteen studies collected in this volume, originally published in Italian and here translated into English, concern the Corpus Plutarcheum, including Table-Talks, De Iside et Osiride, the treatises against the Stoics, De genio Socratis, De liberis educandis, De musica, and some Plutarchean fragments. The volume is a tribute to celebrate the lifelong study of Plutarch's work by Professor Paola Volpe Cacciatore, one of the most remarkable Plutarchean scholars of the last decades.

Round Trip to Hades in the Eastern Mediterranean Tradition explores how the theme of visiting the Underworld and returning alive has been treated, transmitted and transformed in the ancient Greek and Byzantine traditions. The journey was usually a descent (katabasis) into a dark and dull place, where forgetfulness and punishment reigned, but since 'everyone' was there, it was also a place that offered opportunities to meet people and socialize. Famous Classical round trips to Hades include those undertaken by Odysseus and Aeneas, but this pagan topic also caught the interest of Christian writers. The contributions of the present volume allow the reader to follow the passage from pagan to Christian representations of Hades-a passage that may seem surprisingly effortless.

Lysias was the leading Athenian speech-writer of his generation (403-380 BC), whose speeches form a leading source for all aspects of the history of Athenian society during this period. The current volume focuses on speeches that are important particularly as political texts, during an unusually eventful post-imperial period which saw Athens coming to terms with the aftermath of its eventual defeat in the Peloponnesian War (431-404) plus two traumatic if temporary oligarchic coups (the Four Hundred in 411, and especially the Thirty in 404/3). The speeches are widely read today, not least because of their simplicity of linguistic style. This simplicity is often deceptive, however, and one of the aims of this commentary is to help the reader assess the rhetorical strategies of each of the speeches and the often highly tendentious manipulation of argument. This volume includes the text of speeches 12 to 16 (reproduced from Christopher Carey's 2007 Oxford Classical Texts edition, including the apparatus criticus), with a new facing English translation. Each speech receives an extensive introduction, covering general questions of interpretation and broad issues of rhetorical strategy, while in the lemmatic section of the commentary individual phrases are examined in detail, providing a close reading of the Greek text. To maximize accessibility, the Greek lemmata are accompanied by translations, and individual Greek terms are mostly transliterated. This is a continuation of the projected multi-volume commentary on the speeches and fragments begun with the publication of speeches 1 to 11 in 2007, which will be the first full commentary on Lysias in modern times.

The aim of this book is to devise a method for approaching the problem of presence in Hellenistic and Roman poetry. The problem of presence, as defined here, is the problem of the availability or accessibility to the reader of the fictional worlds disclosed by poetry. From Callimachus' Hymns to the Odes of Horace, poets of this era repeatedly challenge readers by beckoning them to explore fictive spaces which are at once familiar and otherworldly, realms of the imagination which are nevertheless firmly rooted in the lived reality of the poets and their contemporaries. We too, when we read these poems, may feel simultaneously a sense of being transported to a world apart and of being seized upon by the poem's address in the here and now of reading. The fiction of occasion is proposed as a new conceptual tool for understanding how these poems produce such problematic presences and what varieties of experience they make possible for their readers. The fiction of occasion is defined as a phenomenon whereby a poem is fictionally framed as part of a material event or 'occasion' with which the reader is invited to engage through the medium of the senses. The book explores this concept through close readings of key authors from the corpus of first-person poetry written in Greek and Latin between the 3rd century BCE and the 1st century CE, with a focus on Callimachus, Bion, Catullus, Propertius, and Horace. The ultimate purpose of these readings is to move towards developing a new vocabulary for conceptualising ancient poetry as an embodied experience.

This volume explores the theme of marginality in the literature and history of the Neronian and Flavian periods. As a concept of modern criticism, the term marginality has been applied to the connection between the uprooted experience of immigrant communities and the subsequent diasporas these groups formed in their new homes. The concept also covers individuals or groups who were barred from access to resources and equal opportunities based on their deviation from a "normal" or dominant culture or ideology. From a literary vantage point, we are interested in the voices of "marginal," or underappreciated authors and critical voices. The distinction between marginalia and "the" text is often nebulous, with marginal comments making their way into the paradosis and being regarded, in modern criticism, as important sources of information in their own right. The analysis of relevant passages from various authors including Lucan, Petronius, Persius, Philo of Alexandria, Pliny the Elder, Silius Italicus, and Statius, as well as the Moretum of the Appendix Vergiliana is vital for our understanding of the treatment of marginalized people in various literary genres in relation to each one’s different purposes.

Brill's Companion to the Reception of Plato in Antiquity offers a comprehensive account of the ways in which ancient readers responded to Plato, as philosopher, as author, and more generally as a central figure in the intellectual heritage of Classical Greece, from his death in the fourth century BCE until the Platonist and Aristotelian commentators in the sixth century CE. The volume is divided into three sections: 'Early Developments in Reception' (four chapters); 'Early Imperial Reception' (nine chapters); and 'Early Christianity and Late Antique Platonism' (eighteen chapters). Sectional introductions cover matters of importance that could not easily be covered in dedicated chapters. The book demonstrates the great variety of approaches to and interpretations of Plato among even his most dedicated ancient readers, offering some salutary lessons for his modern readers too.

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.

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.

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.

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.

This volume acknowledges the centrality of comic invective in a range of oratorical institutions (especially forensic and symbouleutic), and aspires to enhance the knowledge and understanding of how this technique is used in such con-texts of both Greek and Roman oratory. Despite the important scholarly work that has been done in discussing the patterns of using invective in Greek and Roman texts and contexts, there are still notable gaps in our knowledge of the issue. The introduction to, and the twelve chapters of, this volume address some understudied multi-genre and interdisciplinary topics: first, the ways in which comic invective in oratory draws on, or has implications for, comedy and other genres, or how these literary genres are influenced by oratorical theory and practice, and by contemporary socio-political circumstances, in articulating comic invective and targeting prominent individuals; second, how comic invective sustains relationships and promotes persuasion through unity and division; third, how it connects with sexuality, the human body and male/female physiology; fourth, what impact generic dichotomies, as, for example, public-private and defence-prosecution, may have upon using comic invective; and fifth, what the limitations in its use are, depending on the codes of honour and decency in ancient Greece and Rome.

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.

This volume aims to revisit, further explore and tease out the textual, but also non-textual sources in an attempt to reconstruct a clearer picture of a particular aspect of sexuality, i.e. sexual practices, in Greco-Roman antiquity. Sexual practices refers to a part of the overarching notion of sexuality: specifically, the acts of sexual intercourse, the erogenous capacities and genital functions of male and female body, and any other physical or biological actions that define one's sexual identity or orientation. This volume aims to approach not simply the acts of sexual intercourse themselves, but also their legal, social, political, religious, medical, cultural/moral and interdisciplinary (e.g. emotional, performative) perspectives, as manifested in a range of both textual and non-textual evidence (i.e. architecture, iconography, epigraphy, etc.). The insights taken from the contributions to this volume would enable researchers across a range of disciplines - e.g. sex/gender studies, comparative literature, psychology and cognitive neuroscience - to use theoretical perspectives, methodologies and conceptual tools to frame the sprawling examination of aspects of sexuality in broad terms, or sexual practices in particular.

In Dante and the Sense of Transgression, William Franke combines literary-critical analysis with philosophical and theological reflection to cast new light on Dante's poetic vision. Conversely, Dante's medieval masterpiece becomes our guide to rethinking some of the most pressing issues of contemporary theory. Beyond suggestive archetypes like Adam and Ulysses that hint at an obsession with transgression beneath Dante's overt suppression of it, there is another and a prior sense in which transgression emerges as Dante's essential and ultimate gesture. His work as a poet culminates in the Paradiso in a transcendence of language towards a purely ineffable, mystical experience beyond verbal expression. Yet Dante conveys this experience, nevertheless, in and through language and specifically through the transgression of language, violating its normally representational and referential functions. Paradiso's dramatic sky-scapes and unparalleled textual performances stage a deconstruction of the sign that is analyzed philosophically in the light of Blanchot, Levinas, Derrida, Barthes, and Bataille, as transgressing and transfiguring the very sense of sense.