This interdisciplinary book integrates the historical practices regarding material excrement and its symbolic representation, with special focus on fecopoetics and Chaucer's literary agenda. Filth in all its manifestations--material (including privies, dung on fields, and as alchemical ingredient), symbolic (sin, misogynist slander, and theological wrestling with the problem of filth in sacred contexts) and linguistic (a semantic range including dirt and dung)--helps us to see how excrement is vital to understanding the Middle Ages. Applying fecal theories to late medieval culture, Morrison concludes by proposing Waste Studies as a new field of ethical and moral criticism for literary scholars.

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.

This volume brings together scholars from various areas (history, philology, linguistics, history of political ideas) and attempts a fresh survey of current trends in the analysis of Thucydides' historical narrative. Individual contributions range from a general outlook of Thucydides' historical and historiographical concepts to detailed analysis of narrative strategies, linguistic features and stylistic devices. Special attention is given to questions such as the representation of character, the role of individuals, the interaction between leaders and masses in Athenian democracy, the construction of speeches in Thucydides' work, etc. The analysis of language, style and narrative properties is related to the construction of meaning according to current standards of textual analysis and interpreation.

In response to critics who charged him with plagiarism, Virgil is said to have responded that it was easier to steal Hercules' club than a line from Homer. This was to deny the allegations by implying that Virgil was no plagiarist at all, but an author who had done the hard work of making Homer's material his own. Several other texts and passages in Latin literature provide further evidence for accusations and denials of plagiarism. Plagiarism in Latin Literature explores important questions such as, how do Roman writers and speakers define the practice? And how do the accusations and denials function? Scott McGill moves between varied sources, including Terence, Martial, Seneca the Elder and Macrobius' Virgil criticism to explore these questions. In the process, he offers new insights into the history of plagiarism and related issues, including Roman notions of literary property, authorship and textual reuse.

The English language has changed dramatically over the past 500 years, making it increasingly difficult for students to read Chaucer's works. Assuming no previous linguistic knowledge or familiarity with Middle English, Simon Horobin introduces students to Chaucer's language and the importance of reading Chaucer in the original, rather than modern translation. Chaucer's Language - leads the reader gently through basic linguistic concepts with appropriate explanation - highlights how Chaucer's English differs from present-day English, and the significance of this for interpreting and understanding his work - provides close analysis and comparison with the writings of Chaucer's contemporaries to show how Chaucer drew on the variety of Middle English to achieve particular poetic effects - includes sample texts, a glossary of linguistic terminology, a bibliography and suggestions for further reading to aid study. Authoritative and easy-to-follow, this is an indispensable guide to understanding, appreciating and enjoying the language of Chaucer. Assuming no previous linguistic knowledge, Simon Horobin introduces students to Chaucer's language and the importance of reading Chaucer in the original, rather than in a modern translation. This updated edition includes references to most recent scholarship, suggestions for future research and an extensive glossary with sample quotations. Assumes no prior knowledge of Middle English One of the few books available devoted exclusively to Chaucer's language Incorporates the latest research and scholarship, draws on modern linguistic methods

Malaria and Rome is the first comprehensive book on the history of malaria in Roman Italy. Aimed at an interdisciplinary readership, it explores the evolution and ecology of malaria, its medical and demographic effects on human populations in antiquity, its social and economic effects, the human responses to it, and the human interpretations of it. Robert Sallares argues that malaria became increasingly prevalent in Roman times in central Italy as a result of ecological change and alterations to the physical landscape such as deforestation. Making full use of contemporary sources and comparative material from other periods, he shows that malaria had a significant effect on mortality rates in certain regions of Roman Italy.

Minos and the Moderns considers three mythological complexes that enjoyed a unique surge of interest in early twentieth-century European art and literature: Europa and the bull, the minotaur and the labyrinth, and Daedalus and Icarus. All three are situated on the island of Crete and are linked by the figure of King Minos. Drawing examples from fiction, poetry, drama, painting, sculpture, opera, and ballet, Minos and the Moderns is the first book of its kind to treat the role of the Cretan myths in the modern imagination.
Beginning with the resurgence of Crete in the modern consciousness in 1900 following the excavations of Sir Arthur Evans, Theodore Ziolkowski shows how the tale of Europa-in poetry, drama, and art, but also in cartoons, advertising, and currency-was initially seized upon as a story of sexual awakening, then as a vehicle for social and political satire, and finally as a symbol of European unity. In contast, the minotaur provided artists ranging from Picasso to Durrenmatt with an image of the artist's sense of alienation, while the labyrinth suggested to many writers the threatening sociopolitical world of the twentieth century. Ziolkowski also considers the roles of such modern figures as Marx, Nietzsche, and Freud; of travelers to Greece and Crete from Isadora Duncan to Henry Miller; and of the theorists and writers, including T. S. Eliot and Thomas Mann, who hailed the use of myth in modern literature.
Minos and the Moderns concludes with a summary of the manners in which the economic, aesthetic, psychological, and anthropological revisions enabled precisely these myths to be taken up as a mirror of modern consciousness. The book will appeal to all readersinterested in the classical tradition and its continuing relevance and especially to scholars of Classics and modern literatures.

This study considers George Eliot's novels in relation to Dante and to nineteenth-century Italian culture during the Italian national revival and shows how these helped shape her fiction. Thompson argues that Eliot was able to draw selectively on a powerful Risorgimento mythology of national regeneration and that her engagement with the work of Dante Alighieri increases steadily in her later novels, where the Divine Comedy becomes a sustaining metaphor for Eliot's meliorist vision and for her theme of moral growth through suffering.

This is a study of ancient didactic poetry, a type of literature which uses verse as the medium for teaching theoretical knowledge or practical skills. Volk combines a general discussion of didactic poetry as a genre in Greek and Latin literature with detailed interpretations of four famous Latin didactic poems by Lucretius, Vergil, Ovid, and Manilius.

Before, during and after the preparation of Classical Hebrew Poetry: A Guide to its Techniques, Wilfred Watson published several articles on Hebrew poetry in a wide range of periodicals. The present volume collects together the most significant of these writings, including a chapter from a book on chiasmus, as well as a few unpublished items. After an opening survey of current work on Hebrew verse the articles cover the following topics: parallelism (including half-line parallelism, previously almost unnoticed), antithesis, word pairs, chiasmus, figurative language and introductions to speech in verse. The last section deals with structural devices and a folktale motif in narrative verse, hyperbole, apostrophe and alliteration. Previously unpublished items are on the contribution of ethnopoetics, from the study of Native American literature to Hebrew narrative verse (a new topic in biblical studies), parallelism in the Song of Songs and a metaphor in Jeremiah. This anthology is intended as a companion volume to Classical Hebrew Poetry. It includes additions and corrections to that book and there are also several indices.>

This book bridges medieval and contemporary philosophical thinkers, examining the relationship between fiction and philosophy for bringing about social change. Drawing on the philosophical reading and writing practices of medieval author Christine de Pizan and twentieth-century philosopher Luce Irigaray, and through an engagement with Hans-Georg Gadamer's work on tradition and hermeneutics, it develops means to re-write the stories and ideas that shape society. It argues that reading for change is possible; by increasing our capacity to perceive and engage tradition, we become more capable of positively shaping the forces that shape us. Following the example of the two women whose work it explores, Story and Philosophy works through philosophy and narrative to deeply transform the allegorical, political, and continental tradition it engages. It is essential reading for students and scholars interested in medieval studies, feminist studies, and critical theory.

Archetypal images, Carl Jung believed, when elaborated in tales and ceremonies, shape culture's imagination and behavior. Unfortunately, such cultural images can become stale and lose their power over the mind. But an artist or mystic can refresh and revive a culture's imagination by exploring his personal dream-images and connecting them to the past. Dante Alighieri presents his Divine Comedy as a dream-vision, carefully establishing the date at which it came to him (Good Friday, 1300), and maintaining the perspective of that time and place, throughout the work, upon unfolding history. Modern readers will therefore welcome a Jungian psychoanalytical approach, which can trace both instinctual and spiritual impulses in the human psyche. Some of Dante's innovations (admission of virtuous pagans to Limbo) and individualized scenes (meeting personal friends in the afterlife) more likely spring from unconscious inspiration than conscious didactic intent. For modern readers, a focus on Dante's personal dream-journey may offer the best way into his poem.

Language and style of epigram is a topic scarcely discussed in the related bibliography. This edition aspires to fill the gap by offering an in-depth study of dialect, diction, and style in Greek literary and inscribed epigram in a collection of twenty-one contributions authored by international scholars. The authors explore the epigrammatic Kunstsprache and matters of dialectical variation, the interchange between poetic and colloquial vocabulary, the employment of hapax legomena, the formalistic uses of the epigrammatic discourse (meter, syntactical patterns, arrangement of words, riddles), the various categories of style in sepulchral, philosophical and pastoral contexts of literary epigrams, and the idiosyncratic diction of inscriptions. This is a book intended for classicists who want to review the connection between the stylistic features of epigram and its interpretation, as well as for scholars keen to understand how rhetoric and linguistics can be used as a heuristic tool for the study of literature.

Here at last is a fully annotated critical edition of the Chateauroux text of the Chanson de Roland. Even in the Corpus edition, C was represented by a simple transcript. The Roland Corpus edition of 2005 took Venice 7 as the base text and V7 laisses 92A and 108A were relegated to Appendix A. This obscured crucial evidence demonstrating the greater authority of C as representing the shared model and the role of V7 as modifier of that model. Close comparison of C with V7 and of both texts with the other versions disproves the Segre thesis of the anteriority of V7. In this edition, the aim is always to provide an authentic text with minimal emendation, so as to show the salient characteristics of C, but to discuss its readings in detailed footnotes. All arguments are solidly based on textual analysis throughout and particularly in C's repetitions and associated assonanced passages. In addition, the linguistic characteristics are studied and the historical background to C pre-1328 and its possible route from Venice to Paris between 1746 and 1792 investigated.

When has using the term "lesbian" "not" been considered an anachronistic gesture? This question lies at the heart of this important new collection of essays. "The Lesbian Premodern" engages key scholars in lesbian studies and queer theory in an innovative conversation in print. Transgressing traditional period boundaries, "The Lesbian Premodern" scholars to pay full attention to significant and often overlooked theoretical, empirical, and textual work on female same-sex desire and identity in premodern cultures. This provocative book offers a radical new methodology for writing theories and histories of sexuality.

The conventional view of Aristophanes bristles with problems. Important testimony for Alcibiades' paramount role in comedy is consistently disregarded, and the tradition that "masks were made to look like the komodoumenoi, so that before an actor spoke a word, the audience would recognize who was being attacked" is hardly ever invoked. If these testimonia are taken into account, a fascinating picture emerges, where the komodoumenoi are based on the Periclean household: older characters on Pericles himself, younger on Alcibiades. Aspasia, Pericles' mistress, and Hipparete, Alcibiades' wife, lie behind many female characters, and Alcibiades' ambiguous sexuality also allows him to be shown on the stage as a woman, notably as Lysistrata. There is a substantial overlap between the anecdotal tradition relating to the historical figures and the plotting of Aristophanes' plays. This extends to speech patterns, where Alcibiades' speech defect is lampooned. Aristophanes is consistently critical of Alcibiades' mercurial politics, and his works can also be seen to have served as an aide-memoire for Thucydides and Xenophon. If the argument presented here is correct, then much current scholarship on Aristophanes can be set aside.

Beyond the Fifth Century brings together 13 scholars from various disciplines (Classics, Ancient History, Mediaeval Studies) to explore interactions with Greek tragedy from the 4th century BCE up to the Middle Ages. The volume breaks new ground in several ways. Its chronological scope encompasses periods that are not usually part of research on tragedy reception, especially the Hellenistic period, late antiquity and the Middle Ages. The volume also considers not just performance reception but various other modes of reception, between different literary genres and media (inscriptions, vase paintings, recording technology). There is a pervasive interest in interactions between tragedy and society-at-large, such as festival culture and entertainment (both public and private), education, religious practice, even life-style. Finally, the volume features studies of a comparative nature which focus less on genealogical connections (although such may be present) but rather on the study of equivalences.

"Sexuality and Its Queer Discontents in Middle English Literature" exposes the ways in which ostensibly normative sexualities depend upon queerness to shore up their claims of privilege. Through readings of such classic texts as "The Canterbury Tales, Pearl, Amis and Amiloun," and "Eger and Grime," Tison Pugh explains how sexual normativity can often be claimed only after queerness has been rejected, no matter how appealing such queerness might remain at the story's end. Masculinity itself is thus revealed to be a queer performance, one which heroic protagonists of medieval narratives embody while nonetheless highlighting its constricting limitations.

This book focuses on mythos and voice in the Odyssey, to illuminate its characters' journeys from social displacement through discovery and recovery. Mythos and Voice approaches the Odyssey as a narrative of displacement - a narrative that maps the social displacement of its characters, explores the cognitive consequences of that displacement, and embodies the variable strategies by which those characters learn to resolve their displacement. It is a narrative that also employs and elaborates the characters' own narratives of displacement as genres enabling them to resist externally imposed definitions of their situations and to redefine and ultimately reclaim their own place in the world, not as it was before their displacement, but as it must be, given the new post-heroic world in which they now live. The focus on mythos and voice enables readers to approach the study of learning and the acquisition of personal agency in the context of a hazardous world - the cultural world that Odysseus navigates in Homer's epic poem. With this focus, the author examines interactive processes of human learning in a specific cultural context - the epic universe of Homeric narrative. By ethnographically examining the learning contexts portrayed in Homer's epic, Mythos and Voice elucidates an Archaic Greek view of human learning through examples that show how the author(s) of the Odyssey envisioned and dramatized displacement, learning and agency in the epic work. The book focuses on aspects of Homeric cognition as they cumulatively develop among key characters within the Odyssey's inventive narrative structure. In this way, Mythos and Voice describes a culturally specific "theory" of learning and development - a perspective that proved compelling in the pre-classical and classical Greek world, even as it does to readers now.

This volume introduces readers to classical Chinese literature from its beginnings (ca. 10th century BCE) to the tenth century CE. It asks basic questions such as: How did reading and writing practices change over these two millennia? How did concepts of literature evolve? What were the factors that shaped literary production and textual transmission? How do traditional bibliographic categories, modern conceptions of genre, and literary theories shape our understanding of classical Chinese literature? What are the recurrent and evolving concerns of writings within the period under purview? What are the dimensions of human experience they address? Why is classical Chinese literature important for our understanding of pre-modern East Asia? How does the transmission of this literature in Japan, Korea, and Vietnam define cultural boundaries? And what, in turn, can we learn from the Chinese-style literatures of Japan, Korea, and Vietnam, about Chinese literature? In addressing these questions, The Oxford Handbook of Classical Chinese Literature departs from standard literary histories and sourcebooks. It does not simply categorize literary works according to periods, authors, or texts. Its goal is to offer a new conceptual framework for thinking about classical Chinese literature by defining a four-part structure. The first section discusses the basics of literacy and includes topics such as writing systems, manuscript culture, education, and loss and preservation in textual transmission. It is followed by a second section devoted to conceptions of genre, textual organization, and literary signification throughout Chinese history. A third section surveys literary tropes and themes. The final section takes us beyond China to the surrounding cultures that adopted Chinese culture and produced Chinese style writing adapted to their own historical circumstances. The volume is sustained by a dual foci: the recuperation of historical perspectives for the period it surveys and the attempt to draw connections between past and present, demonstrating how the viewpoints and information in this volume yield insights into modern China and east Asia.

The oath was an institution of fundamental importance across a wide range of social interactions throughout the ancient Greek world, making a crucial contribution to social stability and harmony; yet there has been no comprehensive, dedicated scholarly study of the subject for over a century. This volume of a two-volume study explores the nature of oaths as Greeks perceived it, the ways in which they were used (and sometimes abused) in Greek life and literature, and their inherent binding power.

In exploring the significance of Homer for the poetry of modern Greece - benign shade or looming shadow? - Dr Ricks is tackling a theme that has implications for the study of poetic influence in general. In this 1989 book, he takes the work of Sikelianos, Cavafy and Seferis and subjects a selection of poems to a careful scrutiny. These poems are not imitations of Homer but fresh engagements with Homeric themes, and comparison of the modern versions with the original is found to be illuminating for the poets' methods of composition. Dr Ricks does not lose sight of the larger significance of his subject, and modern poets from outside Greece - Eliot and Pound, in particular - find their way into the discussion. All Greek is translated and the reader has no need to be a specialist in modern or in ancient Greek to find this study absorbing and instructive.

This study charts relationships between moral claims and audience response in medieval exemplary works by such poets as Chaucer, Gower, Robert Henryson, and several anonymous scribes. In late medieval England, exemplary works make one of the strongest possible claims for the social value of poetic fiction. Studying this debate reveals a set of local literary histories, based on both canonical and non-canonical texts, that complicate received notions of the didactic Middle Ages, the sophisticated Renaissance, and the fallow fifteenth century in between.

A Prosopography to Martial's Epigrams is the first dictionary of all the characters and personal names found in the work of Marcus Valerius Martialis, containing nearly 1,000 comprehensive entries. Each of them compiles and analyses all the relevant information regarding the characters themselves, as well as the literary implications of their presence in Martial's poems. Unlike other works of this kind, the book encompasses not only real people, whose positive existence is beyond doubt, but also fictional characters invented by the poet or inherited from the cultural and literary tradition. Its entries provide the passages of the epigrams where the respective characters appear; the general category to which they belong; the full name (in the case of historical characters); onomastic information, especially about frequency, meaning, and etymology; other literary or epigraphical sources; a prosopographical sketch; a discussion of relevant manuscript variants; and a bibliography. Much attention is paid to the literary portrayal of each character and the poetic usages of their names. This reference work is a much needed tool and is intended as a stimulus for further research.

This book meets the need to revise the standard interpretations of an apparently aporetic dialogue, full of eloquent silences and tricky suggestions, as it explores, among many other topics, the dramatis personae, including Plato's self-references behind the scene and the role of Socrates on stage, the question of method and refutation and the way dialectics plays a part in the dialogue. More especifically, it contains a set of papers devoted to perception and Plato's criticism of Heraclitus and Protagoras. A section deals with the problem of the relation between knowledge and thinking, including the the aviary model and the possibility of error. It also emphasizes some positive contributions to the classical Platonic doctrines and his philosophy of education. The reception of the dialogue in antiquity and the medieval age closes the analysis. Representing different hermeneutical traditions, prestigious scholars engage with these issues in divergent ways, as they shed new light on a complex controversial work.