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) 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.

Canonisation is fundamental to the sustainability of cultures. This volume is meant as a (theoretical) exploration of the process, taking Eurasian societies from roughly the first millennium BCE (Babylonian, Assyrian, Persian, Greek, Egyptian, Jewish and Roman) as case studies. It focuses on canonisation as a form of cultural formation, asking why and how canonisation works in this particular way and explaining the importance of the first millennium BCE for these question and vice versa. As a result of this focus, notions like anchoring, cultural memory, embedding and innovation play an important role throughout the book.

Nature and Illusion is the first extended treament of the portrayal of nature in Byzantine art and literature. In this richly illustrated study, Henry Maguire shows how the Byzantines embraced terrestrial creation in the decoration of their churches during the fifth to seventh centuries but then adopted a much more cautious attitude toward the depiction of animals and plants in the middle ages, after the iconoclastic dispute of the eighth and ninth centuries. In the medieval period, the art of Byzantine churches became more anthropocentric and less accepting of natural images. The danger that the latter might be put to idolatrous use created a constant state of tension between worldliness, represented by nature, and otherworldliness, represented by the portrait icons of the saints. The book discusses the role of iconoclasm in affecting this fundamental change in Byzantine art, as both sides in the controversy accused the other of "worshipping the creature rather than the Creator." An important theme is the asymmetrical relationship between Byzantine art and literature with respect to the portrayal of nature. A series of vivid texts described seasons, landscapes, gardens, and animals, but these were more sparingly illustrated in medieval art. Maguire concludes by discussing the abstraction of nature in the form of marble floors and revetments and with a consideration of the role of architectural backgrounds in medieval Byzantine art. Throughout Nature and Illusion, medieval Byzantine art is compared with that of Western Europe, where different conceptions of religious imagery allowed a closer engagement with nature.

This commentary discusses Aeschylus' play Agamemnon (458 BC), which is one of the most popular of the surviving ancient Greek tragedies, and is the first to be published in English since 1958. It is designed particularly to help students who are tackling Aeschylus in the original Greek for the first time, and includes a reprint of D. L. Page's Oxford Classical Text of the play.
The introduction defines the place of Agamemnon within the Oresteia trilogy as a whole, and the historical context in which the plays were produced. It discusses Aeschylus' handling of the traditional myth and the main ideas which underpin his overall design: such as the development of justice and the nature of human responsibility; and it emphasizes how the power of words, seen as ominous speech-acts which can determine future events, makes a central contribution to the play's dramatic momentum. Separate sections explore Aeschylus' use of theatrical resources, the role of the chorus, and the solo characters. Finally there is an analysis of Aeschylus' distinctive poetic style and use of imagery, and an outline of the transmission of the play from 458 BC to the first printed editions.

Wealth and power are themes that preoccupy much of Greek literature from Homer on, and this book unravels the significance of these subjects in one of the most famous pieces of narrative writing from classical antiquity. Lisa Kallet brilliantly reshapes our literary and historical understanding of Thucydides' account of the disastrous Sicilian expedition of 415-413 b.c., a pivotal event in the Peloponnesian War. She shows that the second half of Thucydides' "History" contains a damning critique of Athens and its leaders for becoming corrupted by money and for failing to appropriately use their financial strength on military power. Focusing especially on the narrative techniques Thucydides used to build his argument, Kallet gives a close examination of the subjects of wealth and power in this account of naval war and its aftermath and locates Thucydides' writings on these themes within a broad intellectual context.
Among other topics, Kallet discusses Thucydides' use of metaphor, his numerous intertextual references to Herodotus and Homer, and thematic links he makes among the topics of money, emotion, and sight. Overall, she shows that the subject of money constitutes a continuous thematic thread in books six through eight of the "History." In addition, this book takes a fresh look at familiar epigraphic evidence. Kallet's ability to combine sophisticated literary analysis with a firm grasp of Attic inscriptions sheds new light on an important work of antiquity and provides a model example of how to unravel a dense historical text to reveal its underlying literary principles of construction.

This volume, the first collection of essays devoted to Hoccleve since 1996, both confirms his importance in shaping the English poetic tradition after Chaucer's death and demonstrates the depth of ongoing critical interest in Hoccleve's work in its own right. The Middle English poet Thomas Hoccleve, known particularly for his entertainingly biographical verse describing life as a Privy Seal clerk in early fifteenth-century Westminster, is now recognised as a key figure in the literature of later medieval England. This volume, the first collection of essays devoted to Hoccleve since 1996, both confirms his importance in shaping the English poetic tradition after Chaucer's death and demonstrates the depth of ongoing critical interest in Hoccleve's work in its own right. Chapters explore the idiosyncratic forms of his two principle works, The Regiment of Princes and Series, as well as Hoccleve's distinctive imagery of moving feet, of swelling and bursting bodies, and of the actions of personified Death. Other essays consider the presence of the figure of the woman reader, the part played by the codex in posthumous literary sanctification, the links between Hoccleve's formulary of model letters and documents and his own verse, and the mutually informing relations of Hoccleve's minor poetry and major works. They are preceded by a substantial introduction, considering contemporary responses to Hoccleve in the light of current trends in literary criticism and surveying the reception of his works between the fifteenth and nineteenth centuries.

Written by eminent scholar David O. Ross, this guide helps readers to engage with the poetry, thought, and background of Virgil's great epic, suggesting both the depth and the beauty of Virgil's poetic images and the mental images with which the Romans lived.
Guides readers through the complexity of Virgil's poetic style and imagery
All extracts are translated, with original Latin given when necessary
Provides useful historical and social context in which to understand the poem as it was viewed in its time
Includes short introductions to important topics such as Roman religion and the Roman concept of 'character'
Features a helpful appendix which clarifies how to read and hear the poem's Latin hexameter

The perception of demons in late antiquity was determined by the cultural and religious contexts. Therefore the authors of this volume take into consideration a wide variety of texts stemming from different religious milieus ranging from spells, apocalypses, martyrdom literature to hagiography and focus specifically on the literary aspects of the transformation of the demonic in this period of transition.

This book is the first collection of essays dedicated to the work of C. H. Sisson (1915-2003), a major English poet, critic and translator. The collection aims to offer an overall guide to his work for new readers, while also encouraging established readers of one aspect (such as his well-known classical translations) to explore others. It champions in particular the quality of his original poetry. The book brings together contributions from scholars and critics working in a wide range of fields, including classical reception, translation studies and early modern literature as well as modern English poetry, and concludes with a more personal essay on Sisson's work by Michael Schmidt, his publisher.

A fresh and sympathetic investigation of the depiction of wolves in early medieval literature, recuperating their reputation. The best-known wolves of Old English literature are the Beasts of Battle, alongside ravens and eagles as ravenous heralds of doom who haunt the battlefield in the hope of fresh meat plucked from still-warm bodies. Yet to reduce these animals to mere corpse-scavengers is to deny that they are frequently imbued with a variety of far more nuanced meanings elsewhere in the corpus. Two such meanings are inherited from ancient and medieval European lupine motifs: the superstition that the wolf could steal a person's speech, and the perceived contiguous natures of wolves and human outlaws. Tracing the history of these associations and the evidence to suggest that they were known to writers working in early medieval England, this book provides new, animal-centric readings of Wulf and Eadwacer, Abbo of Fleury and AElfric's Passiones Eadmundi, and Beowulf, placing these texts within a lupine literary network that transcends time and place. By exploring the intricate, contradictory, and even sympathetic depictions of the wolves and wolf-like entities found within these texts, this book banishes all notions of the medieval wolf as the one-dimensional, man-eating creature that it is so often understood to be.

This book opens up a neglected chapter in the reception of Athenian drama, especially comedy; and it gives stage-centre to a particularly attractive and entertaining series of vase-paintings, which have been generally regarded as marginal curiosities. These are the so-called `phlyax vases', nearly all painted in the Greek cities of South Italy in the period 400 t0 360 BC. Up till now, they have been taken to reflect some kind of local folk-theatre, but Oliver Taplin, prompted especially by three that have only been published in the last twelve years, argues that most, if not all, reflect Athenian comedy of the sort represented by Aristophanes. This bold thesis opens up questions of the relation of tragedy as well as comedy to vase-painting, the cultural climate of the Greek cities in Italy, and the extent to which Athenians were aware of drama as a potential `export'. It also enriches appreciation of many key aspects of Aristophanic comedy: its metatheatre and self-reference, its use of stage-action and stage-props, its unabashed indecency, and its polarised relationship, even rivalry, with tragedy. The book has assembled thirty-six photographs of vase-paintings. Many are printed here for the first time outside specialist publications that are not readily accessible.

Against the background of age-old Greek wisdom, Epicurus' advice to 'live unnoticed' (lathe biosas) was particularly provocative and scandalous. Why, after all, would an unknown Greek soldier in Agamemnon's army have been happier than famous Achilles? Or why should an ordinary Athenian be regarded as more blessed and enviable than Pericles? Yet Epicurus' ideal was far from unattractive, guaranteeing as it did a quiet and untroubled existence far from the dangerous turmoil of public life. This book casts new light on Epicurus' socio-political philosophy through a careful analysis of his arguments. It also shows how the ideal of an 'unnoticed life' was received during the later history of Epicureanism and how it occasionally occurs in ancient Latin poetry.

Enide's tattered dress and Erec's fabulous coronation robe; Yvain's nudity in the forest, which prevents maidens who know him well clothed from identifying him; Lanval's fairy-lady parading about in the Arthurian court, scantily dressed, for all to observe: just why is clothing so important in twelfth-century French romance? This interdisciplinary book explores how writers of this era used clothing as a signifier with multiple meanings for many narrative purposes. Clothing figured prominently in twelfth-century France, where exotic fabrics and furs came to define a social elite. Monica Wright shows that representations of clothing are not mere embellishments to the text; they help form the textual weave of the romances in which they appear. This book is about how these descriptions are constructed, what they mean, and how clothing becomes an active part of romance composition--the ways in which writers use it to develop and elaborate character, to advance or stall the plot, and to structure the narrative generally.

This book contains a wide-ranging discussion of the literature of religious apologetic composed by pagans, Jews, and Christians in the Roman empire up to the time when Constantine declared himself a Christian. The contributors are distinguished specialists from the fields of ancient history, Jewish history, ancient philosophy, New Testament studies, and patristics. Each chapter is devoted to a particular text or group of texts with the aim of identifying the literary milieu and the circumstances that led to this form of writing. When appropriate, contributors have concentrated on whether the notional audience addressed in the text is the real one, and whether apologetics was regarded as a genre in its own right.

Seneca's Natural Questions is an eight-book disquisition on the nature of meteorological phenomena, ranging inter alia from rainbows to earthquakes, from comets to the winds, from the causes of snow and hail to the reasons why the Nile floods in summer. Much of this material had been treated in the earlier Greco-Roman meteorological tradition, but what notoriously sets Seneca's writing apart is his insertion of extended moralizing sections within his technical discourse. How, if at all, are these outbursts against the luxury and vice that are apparently rampant in Seneca's first-century CE Rome to be reconciled with his main meteorological agenda? In grappling with this familiar question, The Cosmic Viewpoint argues that Seneca is no blinkered or arid meteorological investigator, but a creative explorer into nature's workings who offers a highly idiosyncratic blend of physico-moral investigation across his eight books. At one level, his inquiry into nature impinges on human conduct and morality in its implicit propagation of the familiar Stoic ideal of living in accordance with nature: the moral deviants whom Seneca condemns in the course of the work offer egregious examples of living contrary to nature's balanced way. At a deeper level, however, The Cosmic Viewpoint stresses the literary qualities and complexities that are essential to Seneca's literary art of science: his technical enquiries initiate a form of engagement with nature which distances the reader from the ordinary involvements and fragmentations of everyday life, instead centering our existence in the cosmic whole. From a figurative standpoint, Seneca's meteorological theme raises our gaze from a terrestrial level of existence to a more intuitive plane where literal vision gives way to 'higher' conjecture and intuition: in striving to understand meteorological phenomena, we progress in an elevating direction - a conceptual climb that renders the Natural Questions no mere store of technical learning, but a work that actively promotes a change of perspective in its readership.

Oxford Studies in Ancient Philosophy is an annual publication which includes original articles, which may be of substantial length, on a wide range of topics in ancient philosophy, and review articles of major books. Contributors to this volume; Paul A. Vander Waerdt, Christopher Rowe, Rachel Rue, Paula Gottlieb, Robert Bolton, and John M. Cooper.

Who is afraid of case literature? In an influential article ("Thinking in Cases", 1996), John Forrester made a case for studying case literature more seriously, exemplifying his points, mostly, with casuistic traditions of law. Unlike in modern literatures, case collections make up a significant portion of ancient literary traditions, such as Mesopotamian, Greek, and Chinese, mostly in medical and forensic contexts. The genre of cases, however, has usually not been studied in its own right by modern scholars. Due to its pervasiveness, case literature lends itself to comparative studies to which this volume intends to make a contribution. While cases often present truly fascinating epistemic puzzles, in addition they offer aesthetically pleasing reading experiences, due to their narrative character. Therefore, the case, understood as a knowledge-transmitting narrative about particulars, allows for both epistemic and aesthetic approaches. This volume presents seven substantial studies of cases and case literature: Topics touched upon are ancient Greek medical, forensic, philosophical and mathematical cases, medical cases from imperial China, and 20th-century American medical case writing. The collection hopes to offer a pilot of what to do with and how to think about cases.

In recent decades literary approaches to drama have multiplied: new historical, intertextual, political, performative and metatheatrical, socio-linguistic, gender-driven, transgenre-driven. New information has been amassed, sometimes by re-examination of extant literary texts and material artifacts, at other times from new discoveries from the fields of archaeology, epigraphy, art history, and literary studies. The Oxford Handbook of Greek and Roman Comedy marks the first comprehensive introduction to and reference work for the unified study of ancient comedy. From the birth of comedy in Greece to its end in Rome, from the Hellenistic diffusion of performances after the death of Menander to its artistic, scholarly, and literary receptions in the later Roman Empire, no topic is neglected. 41 essays spread across Greek Comedy, Roman Comedy, and the transmission and reception of Ancient comedy by an international team of experts offer cutting-edge guides through the immense terrain of the field, while an expert introduction surveys the major trends and shifts in scholarly study of comedy from the 1960s to today. The Handbook includes two detailed appendices that provide invaluable research tools for both scholars and students. The result offers Hellenists an excellent overview of the earliest reception and creative reuse of Greek New Comedy, Latinists a broad perspective of the evolution of Roman Comedy, and scholars and students of classics an excellent resource and tipping point for future interdisciplinary research.

A new look at how reading was practised and represented in England from the seventh century to the beginnings of the print era, finding many kinships between reading cultures across the medieval longue duree. Even as it transforms human cultures, routines, attention spans, and the wiring of our brains, the media revolution of the last few decades also urges a reconsideration of the long history of reading. The essays in this volume take a new look at how reading was practised and represented in England from the seventh century to the beginnings of the print era, using texts from Aldhelm to Malory and Wynkyn de Worde, arguing that whether unpicking intricate Latin, contemplating image-texts, or participating in semiotically-rich public rituals, reading cultivated and energized the subject's values, perceptions, and attitudes to the world. Part I, "Practices of Reading", asks how writers, scribes and artists engaged readerly attention through textual layout, poetic form, hermeneutic difficulty, or images, while Part II, "Politics of Reading", explores how different textual communities manipulated the anxieties and opportunities for education, moral improvement or entertainment associated with reading; particular topics addressed include Bible translation and exegesis, page layout, literary form and readerly practice, fiction, hermeneutics, and performance. Although it understands reading as culturally and technologically localized, the book finds many kinships between reading cultures across the medieval longue duree and the literatures and literacies that proliferate today. Contributors: Amy Appleford, Michelle De Groot, Daniel Donoghue, Andrew James Johnston, Andrew Kraebel, Katherine O'Brien O'Keeffe, Catherine Sanok, Samantha Katz Seal, James Simpson, Emily V. Thornbury, Kathleen Tonry, Kathryn Mogk Wagner, Nicholas Watson, Erica Weaver, Anna Wilson.

This study presents a comprehensive treatment of a crucial aspect of Greek religion hitherto largely neglected in the English language. Simon Pulleyn makes a full examination of all the relevant literary and inscribed material available in order both to describe ancient Greek practices and to explain their significance.

In Their Own Words examines early medieval history-writing through quotation practices in five works, each in some way the first of its kind. Nithard's Historiae de dissensionibus filiorum Ludovici Pii is extraordinary for its quotation of vernacular oaths, the first recorded piece of French. The Gesta Francorum is the first eye-witness account of the First Crusade. Geoffrey of Villehardouin's La Conquete de Constantinople, written by a leader and negotiator of the Fourth Crusade, and Robert de Clari's La Conquete de Constantinople, written by a common soldier in the same crusade, are the first extant French prose histories. Li Fet des Romains, a translation and compilation of all the classical texts about Julius Caesar (including Caesar's own Gallic Wars) that were known in the thirteenth century, is the first work of ancient historiography and the first biography to appear in French. Jeanette Beer's work bridges the divide between the study of vernacular and Latin writing, providing new evidence that the linguistic cultures were not isolated from each other. Her examination of quotation practices in early medieval histories illuminates the relationship between classical and contemporary influences in the formative period of history-writing in the West.

This book is the first study to focus on a metaliterary interpretation of Maximianus' Elegies, and aims to fill a major gap in international literature concerning the thoughts of the last love elegist on the evolution and renovation of the genre of love elegy during Late Antiquity. The book includes all known subjects of Maximianus' poetry (e.g., the division of his work into six elegies, its attribution to Cornelius Gallus by Pomponius Gauricus in 1502, its reception in recent years, the intellectual milieu of the Ostrogothic Italy, the historical contextualization of his poetry, the Appendix Maximiani, the impact of the Augustan love elegy (and especially Ovid's) upon it, etc.), in order to offer a more complete picture of it. However, the content of the book is predominantly prototype, as it examines subjects that have not previously been discussed in the past. These include: a) The generic interaction between the 'host' genre of love elegy, and several 'guest' genres (e.g., Roman comedy, epic, pastoral); b) The hidden metapoetic discourse regarding the genre of love elegy itself. The book is intended for scholars or students working on or interested in Roman love elegy and its generic evolution in Late Antiquity.

In recent years, classicists have begun aggressively to explore the impact of performance on the ways in which Greek and Roman plays are constructed and appreciated, both in their original performance context and in reperformances down to the present day. While never losing sight of the playscripts, it is necessary to adopt a more inclusive point of view, one integrating insights from archaeology, art, history, performance theory, theatre semiotics, theatrical praxis, and modern performance reception. This volume contributes to the restoration of a much-needed balance between performance and text: it is devoted to exploring how performance-related considerations (including stage business, masks, costumes, props, performance space, and stage-sets) help us attain an enhanced appreciation of ancient theatre.