In this comprehensive study, Kenneth Morgan provides an authoritative account of European exploration and discovery in Australia. The book presents a detailed chronological overview of European interests in the Australian continent, from initial speculations about the 'Great Southern Land' to the major hydrographic expeditions of the 19th century. In particular, he analyses the early crossings of the Dutch in the 17th century, the exploits of English 'buccaneer adventurer' William Dampier, the famous voyages of James Cook and Matthew Flinders, and the little-known French annexation of Australia in 1772. Introducing new findings and drawing on the latest in historiographical research, this book situates developments in navigation, nautical astronomy and cartography within the broader contexts of imperial, colonial, and maritime history.

Comedy created a joyful mode of perceiving rhetoric, grammar, and literary criticism through the somatic senses of the author, the characters, the actors and the spectators. This was due to generic peculiarities including the omnivore mirroring of contemporary (scholarly) ideas, the materiality of costumes and masks, and the embodiment of abstract notions on stage, in short due to the correspondence between body, language and environment. The materiality of words, letters and syllables in ancient grammar and stylistic criticism is related to the embodied criticism found in Greek comedy. How are scholarly discourses embodied? The act of writing is vividly enacted on stage through carving with effort the shape of the letter 'rho' and commenting emotionally on it. The letters of the alphabet are danced by the chorus, the cognitive and communicative power of gestures and body expression providing emotional context. A barking pickle brine from Thasos is perhaps an olfactory somatosensory visual and auditory embodiment of Archilochean poetry, whilst the actor's foot in dance is a visual and motor embodiment of a metrical foot on stage. Comedy with its actors, costumes, masks, and props is overflowing with such examples. In this book, the author suggests that comedy made a significant contribution to the establishment of scholarly discourses in Classical Greece.

This is the first book-length study of Plautus' shortest surviving comedy, Curculio, a play in which the tricksy brown-nosed title character ("The Weevil") bamboozles a shady banker and a pious pimp to secure the freedom of the enslaved girl his patron has fallen for while keeping her out of the clutches of a megalomaniacal soldier. It all takes place in the Greek city Epidaurus, the most important site for the worship of the healing god Aesculapius, an unusual setting for an ancient comedy. But a mid-play monologue by the stage manager shows us where the action really is: in the real-life Roman Forum, in the lives and low-lifes of the audience. This study explores the world of Curculio and the world of Plautus, with special attention to how the play was originally performed (including the first-ever comprehensive musical analysis of the play), the play's plots and themes, and its connections to ancient Roman cultural practices of love, sex, religion, food, and class. Plautus: Curculio also offers the first performance and reception history of the play: how it has survived through more than two millennia and its appearances in the modern world.

Representations of feeling in medieval literature are varied and complex. This new collection of essays demonstrates that the history of emotions and affect theory are similarly insufficient for investigating the intersection of body and mind that late Middle English literatures evoke. While medieval studies has generated a rich scholarly literature on 'affective piety', this collection charts an intersectional new investigation of affects, feelings, and emotions in non-religious contexts. From Geoffrey Chaucer to Gavin Douglas, and from practices of witnessing to the adoration of objects, essays in this volume analyze the coexistence of emotion and affect in late medieval representations of feeling.

Where does music come from? What kind of agency does a song have? What is at the root of musical pleasure? Can music die? These are some of the questions the Greeks and the Romans asked about music, song, and the soundscape within which they lived, and that this book examines. Focusing on mythical narratives of metamorphosis, it investigates the aesthetic and ontological questions raised by fantastic stories of musical origins. Each chapter opens with an ancient text devoted to a musical metamorphosis (of a girl into a bird, a nymph into an echo, men into cicadas, etc.) and reads that text as a meditation on an aesthetic and ontological question, in dialogue with 'contemporary' debates - contemporary with debates in the Greco-Roman culture that gave rise to the story, and with modern debates in the posthumanities about what it means to be a human animal enmeshed in a musicking environment.

Classical Greek Tragedy offers a comprehensive survey of the development of classical Greek tragedy combined with close readings of exemplary texts. Reconstructing how audiences in fifth-century BCE Athens created meaning from the performance of tragedy at the dramatic festivals sponsored by the city-state and its wealthiest citizens, it considers the context of Athenian political and legal structures, gender ideology, religious beliefs, and other social forces that contributed to spectators' reception of the drama. In doing so it focuses on the relationship between performers and watchers, not only Athenian male citizens, but also women and audiences throughout the ancient Mediterranean world. This book traces the historical development of these dynamics through three representative tragedies that span a 50 year period: Aeschylus' Seven Against Thebes, Sophocles' Oedipus Tyrannus, and Euripides' Helen. Topics include the role of the chorus; the tragic hero; recurring mythical characters and subject matter; Aristotelian assessments of the components of tragedy; developments in the architecture of the theater and their impact on the interactions of characters, and the spaces they occupy. Unifying these discussions is the observation that the genre articulates a reality beyond the visible stage action that intersects with the characters' existence in the present moment and resonates with the audience's religious beliefs and collective psychology. Human voices within the performance space articulate powerful forces from an invisible dimension that are activated by oaths, hymns, curses and prayers, and respond in the form of oracles and prophecies, forms of discourse which were profoundly meaningful to those who watched the original productions of tragedy.

This book uses the mythological hero Heracles as a lens for investigating the nature of heroic violence in Archaic and Classical Greek literature, from Homer through to Aristophanes. Heracles was famous for his great victories as much as for his notorious failures. Driving each of these acts is his heroic violence, an ambivalent force that can offer communal protection as well as cause grievous harm. Drawing on evidence from epic, lyric poetry, tragedy, and comedy, this work illuminates the strategies used to justify and deflate the threatening aspects of violence. The mixed results of these strategies also demonstrate how the figure of Heracles inherently - and stubbornly - resists reform. The diverse character of Heracles' violent acts reveals an enduring tension in understanding violence: is violence a negative individual trait, that is to say the manifestation of an internal state of hostility? Or is it one specific means to a preconceived end, rather like an instrument whose employment may or may not be justified? Katherine Lu Hsu explores these evolving attitudes towards individual violence in the ancient Greek world while also shedding light on timeless debates about the nature of violence itself.

Although Aristotle's contribution to biology has long been recognized, there are many philosophers and historians of science who still hold that he was the great delayer of natural science, calling him the man who held up the Scientific Revolution by two thousand years. They argue that Aristotle never considered the nature of matter as such or the changes that perceptible objects undergo simply as physical objects; he only thought about the many different, specific natures found in perceptible objects. Aristotle's Science of Matter and Motion focuses on refuting this misconception, arguing that Aristotle actually offered a systematic account of matter, motion, and the basic causal powers found in all physical objects. Author Christopher Byrne sheds lights on Aristotle's account of matter, revealing how Aristotle maintained that all perceptible objects are ultimately made from physical matter of one kind or another, accounting for their basic common features. For Aristotle, then, matter matters a great deal.

In Salvation and Sin, David Aers continues his study of Christian theology in the later Middle Ages. Working at the nexus of theology and literature, he combines formidable theological learning with finely detailed and insightful close readings to explore a cluster of central issues in Christianity as addressed by Saint Augustine and by four fourteenth-century writers of exceptional power. Salvation and Sin explores various modes of displaying the mysterious relations between divine and human agency, together with different accounts of sin and its consequences. Theologies of grace and versions of Christian identity and community are its pervasive concerns. Augustine becomes a major interlocutor in this book: his vocabulary and grammar of divine and human agency are central to Aers' exploration of later writers and their works. After the opening chapter on Augustine, Aers turns to the exploration of these concerns in the work of two major theologians of fourteenth-century England, William of Ockham and Thomas Bradwardine. From their work, Aers moves to his central text, William Langland's Piers Plowman, a long multigeneric poem contributing profoundly to late medieval conversations concerning theology and ecclesiology. In Langland's poem, Aers finds a theology and ethics shaped by Christology where the poem's modes of writing are intrinsic to its doctrine. His thesis will revise the way in which this canonical text is read. Salvation and Sin concludes with a reading of Julian of Norwich's profound, compassionate, and widely admired theology, a reading which brings her Showings into conversation both with Langland and Augustine.

Despite their removal from England's National Curriculum in 1988, and claims of elitism, Latin and Greek are increasingly re-entering the 'mainstream' educational arena. Since 2012, there have been more students in state-maintained schools in England studying classical subjects than in independent schools, and the number of schools offering Classics continues to rise in the state-maintained sector. The teaching and learning of Latin and Greek is not, however, confined to the classroom: community-based learning for adults and children is facilitated in newly established regional Classics hubs in evenings and at weekends, in universities as part of outreach, and even in parks and in prisons. This book investigates the motivations of teachers and learners behind the rise of Classics in the classroom and in communities, and explores ways in which knowledge of classical languages is considered valuable for diverse learners in the 21st century. The role of classical languages within the English educational policy landscape is examined, as new possibilities exist for introducing Latin and Greek into school curricula. The state of Classics education internationally is also investigated, with case studies presenting the status quo in policy and practice from Australasia, North America, the rest of Europe and worldwide. The priorities for the future of Classics education in these diverse locations are compared and contrasted by the editors, who conjecture what strategies are conducive to success.

Representative of a unique literary genre and composed in the 13th and 14th centuries, the Icelandic Family Sagas rank among some of the world's greatest literature. Here, Heather O'Donoghue skilfully examines the notions of time and the singular textual voice of the Sagas, offering a fresh perspective on the foundational texts of Old Norse and medieval Icelandic heritage. With a conspicuous absence of giants, dragons, and fairy tale magic, these sagas reflect a real-world society in transition, grappling with major new challenges of identity and development. As this book reveals, the stance of the narrator and the role of time - from the representation of external time passing to the audience's experience of moving through a narrative - are crucial to these stories. As such, Narrative in the Icelandic Family Saga draws on modern narratological theory to explore the ways in which saga authors maintain the urgency and complexity of their material, handle the narrative and chronological line, and offer perceptive insights into saga society. In doing so, O'Donoghue presents a new poetics of family sagas and redefines the literary rhetoric of saga narratives.

A medieval Catalan verse fantasy by Bernat Metge, the most important Catalan writer of the fourteenth century, Written around 1381 by Bernat Metge, the most important Catalan writer of the fourteenth century, the Llibre de Fortuna i Prudencia is a fantasy in verse, drawing on learned sources, principally The Consolation of Philosophy by Boethius. Early one morning, Bernat, the protagonist and narrator, decides to alleviate his sorrows by strolling around the harbour of Barcelona. He meets an old man, apparently a beggar, who tricks him into getting into a boat which, despite the absence of sails and oars, conveys him to an island where the goddess Fortuna appears to him. In a heated discussion, Bernat blames her for all his misfortunes. His next meeting is with Prudenciawho is accompanied by seven maidens representing the liberal arts. Prudencia is able to lessen his despair, and exhorts him to trust in providence and renounce material possessions. When she considers him cured, she and the maidens send him sailing back to Barcelona, where he quickly goes home to avoid gossiping townsfolk. Published in association with Editorial Barcino, Barcelona. DAVID BARNETT, whose doctorate is from Queen Mary, University of London, continues to be involved in research on medieval Catalan literature.

Building on the formula of York Notes, this Advanced series introduces students to more sophisticated analysis and wider critical perspectives. The notes enable students to appreciate contrasting interpretations of the text and to develop their own critical thinking. Key features include: study methods; an introduction to the text; summaries with critical notes; themes and techniques; textual analysis of key passages; author biography; historical and literary background; modern and historical critical approaches; chronology; and glossary of literary terms.

This new introduction to Euripides' fascinating interpretation of the story of Electra and her brother Orestes emphasizes its theatricality, showing how captivating the play remains to this day. Electra poses many challenges for those drawn to Greek tragedy - students, scholars, actors, directors, stage designers, readers and audiences. Rush Rehm addresses the most important questions about the play: its shift in tone between tragedy and humour; why Euripides arranged the plot as he did; issues of class and gender; the credibility of the gods and heroes, and the power of the myths that keep their stories alive. A series of concise and engaging chapters explore the functions of the characters and chorus, and how their roles change over the course of the play; the language and imagery that affects the audience's response to the events on stage; the themes at work in the tragedy, and how Euripides forges them into a coherent theatrical experience; the later reception of the play, and how an array of writers, directors and filmmakers have interpreted the original. Euripides' Electra has much to say to us in our contemporary world. This thorough, richly informed introduction challenges our understanding of what Greek tragedy was and what it can offer modern theatre, perhaps its most valuable legacy.

This volume focuses on the representation of the recent past in classical Athenian oratory and investigates the ability of the orators to interpret it according to their interests; the inability of the Athenians to make an objective assessment of it; and the unwillingness of the citizens to hear the truth, make self-criticism and take responsibility for bad results. Twenty-eight scholars have written chapters to this end, dealing with a wide range of themes, in terms both of contents and of chronology, from the fifth to the fourth century B.C. Each contributor has written a chapter that analyzes one or more historical events mentioned or alluded in the corpus of the Attic orators and covers the three species of Attic oratory. Chapters that treat other issues collectively are also included. The common feature of each contribution is an outline of the recent events that took place and influenced the citizens and/or the city of Athens and its juxtaposition with their rhetorical treatment by the orators either by comparing the rhetorical texts with the historical sources and/or by examining the rhetorical means through which the speakers model the recent past. This book aims at advanced students and professional scholars. This volume focuses on the representation of the recent past in classical Athenian oratory and investigates: the ability of the orators to interpret it according to their interests; the inability of the Athenians to make an objective assessment of persons and events of the recent past and their unwillingness to hear the truth, make self-criticism and take responsibility for bad results.