Aeschylus' Oresteia is a tragedy of inescapable killing within one family, such that each generation must avenge it in kind. This new and close translation tries to preserve its theatrical and poetic qualities: introductory and explanatory matter emphasizes the interconnection of scenes, ideas, and language which distinguishes this unique work, the only trilogy to survive from Greek tragedy.

This volume examines the long and complex history of the Greco-Roman tradition in South America, arguing that the Classics have played a crucial, though often overlooked, role in the self-definition in the New World. Chronicling and theorizing this history through a detailed analysis of five key moments, chosen from the early and late colonial period, the emancipatory era, and the 20th and 21st centuries, it also examines an eclectic selection of both literary and cinematographic works and artefacts such as maps, letters, scientific treatises, songs, monuments, political speeches, and even the drafts of proposals for curricular changes across Latin America. The heterogeneous cases analysed in this book reveal cultural anxieties that recur through different periods, fundamentally related to the 'newness' of the continent and the formation of identities imagined as both Western and non-Western - a genealogy of apprehensions that South American intellectuals and political figures have typically experienced when thinking of their own role in world history. In tracing this genealogy, The Classics in South America innovatively reformulates our understanding of well-known episodes in the cultural history of the region, while providing a theoretical and historical resource for further studies of the importance of the Classical tradition across Latin America.

Essays on the post-modern reception and interpretation of the Middle Ages, with a particular concentration on environmental matters. Ecoconcerns and ecocriticism are a rising trend in medievalism studies, and form a major focus of this collection. Topics under discussion in the first part of the volume include figurations in nineteenth- and twentieth-century medievalism; environmental medievalism in Sidney Lanier's Southern chivalry; nostalgia and loss in T.H. White's "forest sauvage"; and green medievalism in J.R.R. Tolkien's elven realms. The eleven subsequent articles continue to take in such themes more tangentially, testing and buillding on the methods and conclusions of the first part. Their subjects include John Aubrey's Middle Ages; medieval charter-horns in early modern England; nineteenth-centuryreimaginings of Chaucer's Griselda; Dante's influence on Harlan Ellison's "I Have No Mouth and I Must Scream"; multi-layered medievalisms in George R.R. Martin's A Song of Ice and Fire; (coopted) feminism via medievalism inDisney's Maleficent; (neo)medievalism in Babylon 5 and Crusade; cosmopolitan anxieties and national identity in Netflix's Marco Polo; mapping Everealm in The Quest; undergraduate perceptions ofthe "medieval" and the "Middle Ages"; and medievalism in the prosopopeia and corpsepaint of Mayhem's De Mysteriis Dom Sathanas. Karl Fugelso is Professor of Art History at Towson University in Baltimore, Maryland. Contributors: Dustin M. Frazier Wood, Daniel Helbert, Ann F. Howey, Carol Jamison, Ann M. Martinez, Kara L. McShane, Lisa Myers, Elan Justice Pavlinich, Katie Peebles, Scott Riley, Paul B. Sturtevant, Dean Swinford, Renee Ward, Angela Jane Weisl, Jeremy Withers.

In this collected volume fourteen experts in the fields of Classics and Ancient History study the textual strategies used by Herodotus and Livy when recounting the disastrous battles at Thermopylae and Cannae. Literary, linguistic and historical approaches are used (often in combination) in order to enhance and enrich the interpretation of the accounts, which for obvious reasons confronted the authors with a special challenge. Chapters drawing a comparison with other battle narratives and with other genres help to establish genre-specific elements in ancient historiography, and draw attention to the particular techniques employed by Herodotus and Livy in their war narratives.

Bertrand du Guesclin was one of the main architects of the recovery of France. From humble beginnings he rose to become one of the great heroic figures of French history. This is the first English translation of Cuvelier's epic poem about him. Bertrand du Guesclin is one of the great French heroes of the Hundred Years War, his story every bit as remarkable as Joan of Arc's. The son of a minor Breton noble, he rose in the 1360s and '70s to become the Constable of France- a supreme military position, outranking even the princes of the blood royal. Through campaigns ranging from Brittany to Castile he achieved not only fame as a pre-eminent leader of Charles V's armies, but a dukedom in Spain, burial among the kings of France in the royal basilica at Saint-Denis, and recognition as nothing less than the "Tenth Worthy", being ranked alongside the nine paragons of chivalry who included Alexander the Great, Julius Caesar, Charlemagne and King Arthur. His is a truly spectacular story. And the image of Bertrand, and many of the key events in his extraordinary life, are essentially derived from The Song of Bertrand du Guesclin, this epic poem by Cuvelier. Written in the verse-form and manner of a chanson de geste, it is the very last of the Old French epics and an outstanding example of the roman chevaleresque. It is a fascinating and major primary source forhistorians of chivalry and of a critical period in the Hundred Years War. This is its first translation into English. Cuvelier is a fine storyteller: his depictions of battle and siege are vivid and thrilling, offering invaluable insights into medieval warfare. And he is a compelling propagandist, seeking through his story of Bertrand to restore the prestige of French chivalry after the disastrous defeat at Poitiers and the chaos that followed, andseeking, too, to inspire devotion to the kingdom of France and to the fleur-de-lis. NIGEL BRYANT is well known for his lively and accurate versions of medieval French authors. His translations of Chretien de Troyes' Perceval and all its continuations and of the extraordinary late Arthurian romance Perceforest have been major achievements; he has also translated Jean le Bel's history of the early stages of the Hundred Years War, and the biography of William Marshal.

The Language of Atoms argues that ancient Epicurean writing on language offers a theory of performative language. Such a theory describes how languages acts, providing psychic therapy or creating new verbal meanings, rather than passively describing the nature of the universe. This observation allows us new insight into how Lucretius, our primary surviving Epicurean author, uses language in his great poem, De rerum natura (On the Nature of Things). The book begins with a double contention: on the one hand, while scholarship on Lucretius has looked to connect Lucretius' text to its larger cultural and historical context, it has never turned to speech act theory in this quest. This omission is striking at least in so far as speech act theory was developed precisely as a way of locating language (including texts) within a theory of action. The book studies Lucretius' work in the light of performative language, looking at promising, acts of naming, and the larger political implications of these linguistic acts. The Language of Atoms locates itself at the intersection of both older scholarly work on Epicureanism and recent developments on the reception history, and will thus offer scholars across the humanities a challenging new perspective on Lucretius' work.

'York Notes Advanced' offer an accessible approach to English Literature. This series has been completely updated to meet the needs of today's A-level and undergraduate students. Written by established literature experts, 'York Notes Advanced' introduce students to more sophisticated analysis, a range of critical perspectives and wider contexts.

This book aims to demonstrate that Primary History, the historical work contained in the first nine books of the Hebrew Bible (Genesis-2 Kings), was written as one unitary work, in deliberate emulation of the Greek-language Histories of Herodotus of Halicarnassus (completed c. 440 BCE), so that the diversity of its books and sections is largely a literary device. The work is believed to have been written in the period 440-420 BCE, in the period of reform usually associated with the name of Nehemiah. Though this thesis does not directly affect questions of historicity, understanding the literary nature of Primary History promises to open new vistas for research into the history of Israel, the Hebrew Bible in general and the history of the Hebrew language.

Shipley presents the first modern commentary on Plutarch's Life of Agesilaos (c.444-360 BC) together with the full Greek text and a bibliography. Plutarch's biographies have long been valued for their literary, philosophic, and historiographic content, and the Life of Agesilaos, king of Sparta for forty years after the Peloponnesian war, has special interest as an introduction to Greek history, society, and culture in the fourth century, a critical period that has received little attention compared with the fifth century in Athens.

This is the first critical edition of the twelfth-century Latin epic poem, Historia Vie Hierosolimitane, in an authoritative Oxford Medieval Texts edition, with facing-page text and translation and detailed introduction and notes.

Jan Huizinga and Roger Caillois have already taught us to realize how important games and play have been for pre-modern civilization. Recent research has begun to acknowledge the fundamental importance of these aspects in cultural, religious, philosophical, and literary terms. This volume expands on the traditional approach still very much focused on the materiality of game (toys, cards, dice, falcons, dolls, etc.) and acknowledges that game constituted also a form of coming to terms with human existence in an unstable and volatile world determined by universal randomness and fortune. Whether considering blessings or horse fighting, falconry or card games, playing with dice or dolls, we can gain a much deeper understanding of medieval and early modern society when we consider how people pursued pleasure and how they structured their leisure time. The contributions examine a wide gamut of approaches to pleasure, considering health issues, eroticism, tournaments, playing music, reading and listening, drinking alcohol, gambling and throwing dice. This large issue was also relevant, of course, in non-Christian societies, and constitutes a critical concern both for the past and the present because we are all homines ludentes.

The recovery of Dante's metaphysics - which are very different from our own - is essential, argues Christian Moevs, if we are to resolve what has been called "the central problem in the interpretation of the Comedy." That problem is what to make of the Comedy's claim to the status of revelation, vision, or experiential record - as something more than imaginative literature. In this book Moevs offers the first sustained treatment of the metaphysical picture that grounds and motivates the Comedy, and the relation between those metaphysics and Dante's poetics. Moevs arrives at the radical conclusion that Dante believed that all of what we perceive as reality, the spatio-temporal world, is in fact a creation or projection of conscious being. Armed with this new understanding, Moevs is able to shed light on a series of perennial issues in the interpretation of the Comedy.

The play with linguistic styles constitutes an important ingredient of Aristophanic humour. Andreas Willi uses the stylistic diversity as a source to reconstruct the 'real' styles upon which Aristophanes based his text. Most of these 'real' styles would otherwise be lost because they are not represented in serious literature. For instance, it is possible to distinguish between male and female Attic, to ask whether classical Athenian culture knew technical languages in the modern sense, and to look at what ancient people found funny about the broken language of foreigners.

Greek tragedy occupies a prominent place in the development of early Greek thought. However, even within the partial renaissance of debates about tragedy's roots in the popular thought of archaic Greece, its potential connection to the early philosophical tradition remains, with few exceptions, at the periphery of current interest. This book aims to show that our understanding of Aeschylus' Oresteia is enhanced by seeing that the trilogy's treatment of Zeus and Justice (Dike) shares certain concepts, assumptions, categories of thought, and forms of expression with the surviving fragments and doxography of certain Presocratic thinkers (especially Anaximander, Xenophanes, Heraclitus, and Parmenides). By examining several aspects of the tragic trilogy in relation to Presocratic debates about theology and cosmic justice, it shows how such scrutiny may affect our understanding of the theological 'tension' and metaphysical assumptions underpinning the Oresteia's dramatic narrative. Ultimately, it argues that Aeschylus bestows on the experience of human suffering, as it is given in the contradictory multiplicity of the world, the status of a profound form of knowledge: a meeting point between the human and divine spheres.

This volume brings together the work of a wide range of international scholars on the most important themes in Plutarch's Greek and Roman Lives. It includes contributions on Plutarch's life and cultural milieu; his methodology; the chronological order of composition and the cross-references from one Life to another; on the possibility that several biographies were edited simultaneously; the methods Plutarch adopted to summarize his own reading and research; the choice of subjects and of sources; Plutarch's compositional techniques; and the criteria for selecting the Greek and Roman pairs. An introduction discusses the traditions of historiography which influenced Plutarch, and the background to Graeco-Roman biography, analysing Plutarch's sources and assessing how he used them. At the cusp between literature, philosophy, and history, Plutarch's biographies and these studies of them are of unique interest to scholars interested in all aspects of the ancient world.

Boedecker and Sider's edited volume gathers the best of the recent research on Simonides' newly expanded oeuvre into a single collection which will be an important reference for scholars of Greek poetry.

This title offers discussion of themes such as spatiality, temporality and sovereignty in Latin literature, drawing upon key conteporary critical theorists. "Now and Rome" is about the way that sovereign power regulates the movement of information and the movement of bodies through space and time. Through a series of readings of three key Latin literary texts alongside six contemporary cultural theorists, Ika Willis argues for an understanding of sovereignty as a system which enforces certain rules for legibility, transmission and circulation on both information and bodies, redefining the relationship between the 'virtual' and the 'material'. This book is both innovative and important in that it brings together several key strands in recent thinking about sovereignty, history, space, and telecommunications, especially in the way it brings together 'textual' theories (reception, deconstruction) with political and spatial thinking. It also serves as a much-needed crossing-point between Classical Studies and cultural theory. "Continuum Studies in Classical Reception" presents scholarly monographs offering new and innovative research and debate to students and scholars in the reception of Classical Studies. Each volume will explore the appropriation, reconceptualization and recontextualization of various aspects of the Graeco-Roman world and its culture, looking at the impact of the ancient world on modernity. Research will also cover reception within antiquity, the theory and practice of translation, and reception theory.

This is the first commentary to be written in English on Seneca's "Phoenissae, an intriguing work on account of its unusual structure and state of incompletion.
The substantial introduction deals, "inter alia, with the question of the unity and purpose of the work; the absence of an ending and of choral lyrics; the philosophical, rhetorical, and political content; Seneca's treatment of the Theban legend. The commentary is primarily a literary analysis of the text, but textual, linguistic, metrical, and grammatical difficulties are also elucidated.
With the resurgence of interest in Senecan drama in the last two decadese, this book is a valuable addition to English commentaries that appeared on most of the plays.

Herodotus, one of the earliest and greatest of Western prose authors, set out in the late fifth century BC to describe the world as he knew it - its peoples and their achievements, together with the causes and course of the great wars that brought the Greek cities into conflict with the empires of the Near East. Each subsequent generation of historians has sought to use his text and to measure their knowledge of these cultures against his words.
This commentary by leading scholars, originally published in Italian, has been fully revised by the original authors and has now been edited for English-speaking readers by Oswyn Murray and Alfonso Moreno. It is designed for use alongside the Oxford Classical Text of Herodotus, and will replace the century-old historical commentary of How and Wells (1912) as the most authoritative account of modern scholarship on Herodotus.
Books I-IV cover the history and cultures of Lydia, Egypt, Persia, and the nomads of Scythia and North Africa, in their contacts with the Greeks from mythical times to the start of the fifth century BC; these themes, with many digressions, are woven into an account of the expansion of the Persian Empire and its relations with the Greeks.

Wily Odysseus. Bold Achilles. Brave Hektor. Beautiful Helen of Troy. For centuries, people around the world have been fascinated by these figures and their tragic war as recounted in Homer's "Iliad, "long admired and studied as one of the foremost epic poems of the ancient world. In "The Iliad as Politics, " Dean Hammer revisits this epic with a new perspective.

In this first full-length treatment of the "Iliad "as a work of political thought, Hammer demonstrates how Homer's epic is also an ancient Greek discussion on political ethics. Hammer redefines political thought as the activity of addressing issues of collective identity and organization. Using this understanding of politics, he discusses how the characters in the "Iliad, "through their larger-than-life actions and interactions, embody community issues of authority, conflict, judgment, and the interrelationship between personal and collective identity. The characters' many quarrels, laments, reconciliations, and vows of loyalty and friendship all critically model the principles and controversies of underlying Greek political ethics of communal responsibility and relationship.

Much of modern Western political thought focuses on classical Greek discussions of political philosophy. Hammer demonstrates that the "Iliad "constitutes another such ancient Greek political discussion.

The purpose of the BIAS is, year by year, to draw attention to all scholarly books and articles directly concerned with the matiere de Bretagne. The bibliography aims to include all books, reviews and articles published in the year preceding its appearance, an exception being made for earlier studies which have been omitted inadvertently. The present volume contains over 700 entries on relevant publications that were published in 2014.

Opera has often used classical literature as a means of expressing the most vital concerns of the period in which the operas were written. "Sing SorroW" explores the classical roots of many noted operas, illustrating the ways in which the operas reflected the political concerns of their time through these ancient narratives. In particular, though female opera characters are often regarded as victims, they are actually quite heroic, frequently shaping their own destinies.

Each chapter provides background and historical context, examines the relationship between the opera and the original work of literature, and suggests what the music contributes to the interpretation. Through the lens of the classics, "Sing SorroW" approaches opera from a unique aesthetic and cultural standpoint, giving a new perspective to both opera and its literary and dramatic ancestors.

Although we often think of friendship today as an indisputable value of human social life, for thinkers and writers across late medieval Christian society friendship raised a number of social and ethical dilemmas that needed to be carefully negotiated. On Amista analyses these dilemmas and looks at how Dante's strategic articulations of friendship evolved across the phases of his literary career as he maneuvered between different social groups and settings. Elizabeth Coggeshall reveals that friendship was not an unequivocal moral good for the writers of late medieval Italy. Instead, it was an ambiguous term to be deployed strategically, describing a wide range of social relationships such as allies, collaborators, servants, patrons, rivals, and enemies. Drawing on the use of the language of friendship in the letters, correspondence poems, dedications, narratives, and treatises composed by Dante and his interlocutors, Coggeshall examines the way they skillfully negotiated around the dilemmas that friendship raised in the spheres of medieval Italian literary society. The book addresses instances of inclusivity and exclusivity, collaboration and self-interest, hierarchy and equality, and alterity and identity. Employing literary, historical, and sociological analysis, On Amista presents a genealogy for the innovative and tactical use of the terms of friendship among the works of late medieval Italian authors.

In the last decades the field of research on ancient Greek scholarship has been the object of a remarkable surge of interest, with the publication of handbooks, reference works, and new editions of texts. This partly unexpected revival is very promising and it continues to enhance and modify both our knowledge of ancient scholarship and the way in which we are accustomed to discuss these texts and tackle the editorial and exegetical challenges they pose. This volume deals with some pivotal aspects of this topic, being the outcome of a three-year project funded by the Italian Ministry for Education, University and Research (MIUR) on specific aspects of the critical re-appraisal of Homer, Hesiod, Pindar, and Aeschylus in Greek culture throughout antiquity and the Middle Ages. It tackles issues such as the material form of the transmission of the exegesis from papyri to codices, the examination of hitherto unexplored branches of the manuscript evidence, the discussion of some important scholia, and the role played by the indirect tradition and the assimilation of the exegetical heritage in grammatical and lexicographical works. Some strands of the ancient and medieval scholarship are here re-evaluated afresh by adopting an interdisciplinary methodology which blends modern editorial techniques developed for 'problematic' or 'non-authorial' medieval texts with current trends in the history of philology and literary criticism. In their diversity of subject matter and approach the papers collected in the volume give intended readers an excellent overview of the topics of the project.

Claudian was one of the last great Latin poets of the classical tradition, writing at the imperial court in Milan in the late fourth to early fifth century AD. With the current upsurge of research into late antiquity, he is a figure of great interest who has been undeservedly neglected - a creative artist with an immense knowledge of classical literature and a distinctive literary style. His works have been mined for what they reveal about the history of the period, as he largely wrote political propaganda for members of the court circle; but the De Raptu Proserpinae is fascinating in that it shows him working with subject matter of more personal choice. J. B. Hall has already produced two editions of the work, which deal exhaustively with the complicated manuscript traditions; but he self-confessedly leaves aside literary questions, which are the subject of this commentary. This is therefore the first study to look at the poem as a work of literary interest in its own right. The book includes a text designed to simplify Hall's apparatus, and a facing translation to make the work more accessible to non-specialists.