This is the first volume dedicated to Aristophanes' comedy Peace that analyses the play for a student audience and assumes no knowledge of Greek. It launches a much-needed new series of books each discussing a comedy that survives from the ancient world. Six chapters highlight the play's context, themes, staging and legacy including its response to contemporary wartime politics and the possible staging options for flying. It is ideal for students, but helpful also for scholars wanting a quick introduction to the play. Peace was first performed in 421 BC, perhaps only days before the signing of a peace treaty that ended ten years of fighting between Athens and Sparta (the Archidamian War). Aristophanes celebrates this prospect with an imaginative fantasy involving his hero's flight on a gigantic dung-beetle to Olympus, the rescue of the goddess Peace from her imprisonment in a cave, and her return to a Greece weary of ten years of war. Like most of the poet's comedies, this play is heavy on fantasy and imagination, light on formal structure, being an exuberant farce that champions the opponents of War and celebrates the delights of the return to country life with its smells, food and drink, its many pleasures and none of the complications that war brings in its wake.

It is perhaps a truism to note that ancient religion and rhetoric were closely intertwined in Greek and Roman antiquity. Religion is embedded in socio-political, legal and cultural institutions and structures, while also being influenced, or even determined, by them. Rhetoric is used to address the divine, to invoke the gods, to talk about the sacred, to express piety and to articulate, refer to, recite or explain the meaning of hymns, oaths, prayers, oracles and other religious matters and processes. The 13 contributions to this volume explore themes and topics that most succinctly describe the firm interrelation between religion and rhetoric mostly in, but not exclusively focused on, Greek and Roman antiquity, offering new, interdisciplinary insights into a great variety of aspects, from identity construction and performance to legal/political practices and a broad analytical approach to transcultural ritualistic customs. The volume also offers perceptive insights into oriental (i.e. Egyptian magic) texts and Christian literature.

Retracing the contours of a bitter controversy over the meaning of sacred architecture that flared up among some of the leading lights of the Carolingian renaissance, Samuel Collins explores how ninth-century authors articulated the relationship of form to function and ideal to reality in the ecclesiastical architecture of the Carolingian empire. This debate involved many of the major figures of the era, and at its core questioned what it meant for any given place or building to be thought of as specially holy. Many of the signature moments of the Carolingian Renaissance, in church reform, law, and political theory, depended on rival and bitterly controversial definitions of sacred architecture in the material world.

This book develops an authentic and at the same time revolutionary musical analysis of ancient Greek poetry. It departs from the abstract metrical analyses of the past in that it conceives the rhythmic and harmonic elements of poetry as integral to the whole expression, and decisive in the interpretation of its meaning. David offers a thoroughgoing treatment of Homeric poetics: here some remarkable discoveries in the harmonic movement of epic verse, when combined with some neglected facts about the origin of the hexameter in a "dance of the Muses," lead to essential new thinking about the genesis and the form of Homeric poetry. He also gives a foretaste of the fruits to be harvested in lyric by a musical analysis, which applies a new theory of the Greek tonic accent and considers concretely the role of dance in performance.

A passionate reexamination of the ancient world and the lessons we can draw from antiquity In today's turbulent cultural moment, it is all too common for conservatives to invoke the wisdom of the ancient Greeks in the name of timeless virtues. At the same time, critics have charged that multiculturalists have hopelessly corrupted the study of antiquity itself, and that the teaching of Classics is dead. Trojan Horses is Page duBois's answer to scholars and theorists-such as Camille Paglia, Allan Bloom, and William Bennett-who have appropriated antiquity in the service of a conservative political agenda. She challenges cultural conservatives' appeal to the authority of the Classics by revealing their presentation of ancient Greece as simplistic, ahistorical, and irreparably distorted by their politics. In its devastating critique of these pundits, Trojan Horses presents a more complex and more accurate view of ancient Greek politics, sex, and religion. In her incisive examinations of figures such as Daedalus and Artemis, duBois eloquently conveys their complexity and passion, but also unearths actions and beliefs that do not square so easily with today's conservative values. As duBois writes, "Like Bennett, I think we should study the past, but not to find nuggets of eternal wisdom. Rather we can comprehend in our history a fuller range of human possibilities, of beginnings, of error, and of difference." In these chapters, duBois offers readers a view of the ancient Greeks that is more nuanced, more subtle, more layered and in every way more historical than the portrait many of today's scholars strive to display in our classrooms. Sharp, timely, and engaging, Trojan Horses portrays the richness of ancient Greek culture while riding in to rescue the Greeks from the new barbarians.

The essays here, united by their appreciation of the centrality of translation to the interpretation of the medieval past, add to our understanding of how the old is continually made anew The first decades of the twenty-first century have seen an unprecedented level of creative engagement with early medieval literature, ranging from the long-awaited publication of Tolkien's version of Beowulf and the reworking of medieval lyrics by Ireland's foremost poets to the adaptation of Eddic and Skaldic poetry for the screen. This collection brings together scholars and accomplished translators working with Old English, Old Norse and MedievalIrish poetry, to take stock of this extraordinary proliferation of translation activity and to suggest new ways in which to approach these three dynamic literary traditions. The essays in this collection include critical surveysof texts and traditions to the present day, assessments of the practice and impact of individual translators from Jorge Luis Borges to Seamus Heaney, and reflections on the particular challenges of translating poetic forms and vocabulary into different languages and media. Together they present a series of informed and at times provocative perspectives on what it means to "carry across" early medieval poetry in our contemporary cultural climate. Dr Tom Birkett is lecturer in Old English at University College Cork; Dr Kirsty March-Lyons is a scholar of Old English and Latin poetry and co-organiser of the Irish Research Council funded conference and translation project "Eald to New". Contributors: Tom Birkett, Elizabeth Boyle, Hannah Burrows, Gareth Lloyd Evans, Chris Jones, Carolyne Larrington, Hugh Magennis, Kirsty March-Lyons, Lahney Preston-Matto, Inna Matyushina, Rory McTurk, Bernard O'Donoghue, Heather O'Donoghue, Tadhg O Siochain, Bertha Rogers, M.J. Toswell.

In The Babylonian Disputation Poems Enrique Jimenez studies a group of ancient Babylonian poems that feature discussions between animals and trees. Using intertextual parallels and comparison with similar works in other literatures, he espouses a new classification of the Babylonian disputation poems as parodies. After examining neighboring traditions of literary disputation, he argues that the Babylonian poems influenced them, and that some may have been translated from Akkadian to Aramaic, from Aramaic and Syriac to Arabic. In addition, The Babylonian Disputation Poems provides editions of several previously unpublished Babylonian disputations, such as Palm and Vine and the Series of the Spider. It also offers the first edition of the latest known Babylonian fable, The Story of the Poor, Forlorn Wren. "The present book is an exemplary model for editing and commenting upon ancient texts, and almost every approach has been taken into account." -Markham J. Geller, Journal for the Study of the Old Testament 43.5 (2019)

This book provides a needed new interpretation of the complex cultural meanings of the late medieval, guild-produced, biblical plays of York and Chester, England, commonly known as mystery plays. It argues that the plays are themselves a "drama of masculinity," that is, dramatic activity specifically and self-consciously concerned with the fantasies and anxieties of being male in the urban, mercantile worlds of their performance. It further contends that the plays in their historical performance contexts produced and reinforced masculine communities defined by occupation, thus visibly naturalizing the world of work as masculine. The book offers welcome insight into a significant, canonical genre of dramatic literature that has been studied previously in devotional and civic contexts, but not yet in its role in the cultural history of masculinity.

Quintus Ennius, often considered the father of Roman poetry, is best remembered for his epic poem, the Annals, a history of Rome from Aeneas until his own lifetime. Ennius represents an important bridge between Homer's works in Greek and Vergil's Aeneid. Jay Fisher argues that Ennius does not simply translate Homeric models into Latin, but blends Greek poetic models with Italic diction to produce a poetic hybrid. Fisher's investigation uncovers a poem that blends foreign and familiar cultural elements in order to generate layers of meaning for his Roman audience. Fisher combines modern linguistic methodologies with traditional philology to uncover the influence of the language of Roman ritual, kinship, and military culture on the Annals. Moreover, because these customs are themselves hybrids of earlier Roman, Etruscan, and Greek cultural practices, not to mention the customs of speakers of lesser-known languages such as Oscan and Umbrian, the echoes of cultural interactions generate layers of meaning for Ennius, his ancient audience, and the modern readers of the fragments of the Annals.

Is it possible to be a citizen of the world? Cosmopolitan thought has been at the center of recent debates surrounding human rights, legal obligations, international relations and political responsibility. Most of these debates trace their origins to the Enlightenment of the eighteenth Century or to the teaching of Greek and Roman philosophers. Medieval literary fictions and travel accounts provide us with rich contextualizations of the complexities and contradictions of cosmopolitan thought. This collection of essays uncovers a wide array of medieval writings on cosmopolitan ethics and politics, writings generally ignored or glossed over in contemporary discourse.

Building on recent work in critical animal studies and posthumanism, this book challenges past assumptions that animals were only explored as illustrative of humanity, not as interesting in their own right. The contributors combine close reading of Chaucer's texts with insights drawn from cultural or critical animal studies.

Frontiers of Pleasure calls into question a number of influential modern notions regarding aesthetics by going back to the very beginnings of aesthetic thought in Greece and raising critical issues regarding conceptions of how one responds to the beautiful. Despite a recent rebirth of interest in aesthetics, extensive discussion of this key cluster of topics has been absent. Anastasia-Erasmia Peponi argues that although the Greek language had no formal term equivalent to the "aesthetic," the notion was deeply rooted in Greek thought. Her analysis centers on a dominant aspect of beauty--the aural--associated with a highly influential sector of culture that comprised both poetry and instrumental music, the "activity of the Muses," or mousike. The main argument relies on a series of close readings of literary and philosophical texts, from Homer and Plato through Kant, Joyce, and Proust. Through detailed attention to such scenes as Odysseus' encounter with the Sirens and Hermes' playing of his lyre for his brother Apollo, she demonstrates that the most telling moments in the conceptualization of the aesthetic come in the Greeks' debates and struggles over intense models of auditory pleasure. Unlike current tendencies to treat poetry as an early, imperfect mode of meditating upon such issues, Peponi claims that Greek poetry and philosophy employed equally complex, albeit different, ways of articulating notions of aesthetic response. Her approach often leads her to partial or total disagreement with earlier interpretations of some of the most well-known Greek texts of the archaic and classical periods. Frontiers of Pleasure thus suggests an alternative mode of understanding aesthetics in its entirety, freed from some modern preconceptions that have become a hindrance within the field."

Examining carefully the Egyptian epic hexameter production from the 3rd to the 6th centuries AD, especially that of the southern region (Thebaid), this study provides an image of three centuries in the history of the Graeco-Egyptian literature, in which authors and poetry are related directly to the social-economic, cultural and literary contexts from which they come. The training they could get and the books and authors they came in touch with explain that we know so many names and works, written in a language and metrics that enjoyed the greatest esteem, being considered proofs of the highest culture. Laura Miguelez Cavero demonstrates that the traditional image of a "school of Nonnos" is not justified - rather, Triphiodorus, Nonnus, Musaeus, Colluthus, Cyrus of Panopolis and Christodorus of Coptos are just the tip of a literary iceberg we know only to some extent through the texts that papyri offer us.

More than a hundred years ago, Freud made a new mythology by revising an old one: Oedipus, in Sophocles' tragedy the legendary perpetrator of shocking crimes, was an Everyman whose story of incest and parricide represented the fulfillment of universal and long forgotten childhood wishes. The Oedipus complex--child, mother, father--suited the nuclear families of the mid-twentieth century. But a century after the arrival of the psychoanalytic Oedipus, it might seem that modern lives are very much changed. Typical family formations and norms of sexual attachment are changing, while the conditions of sexual difference, both biologically and socially, have undergone far-reaching modifications. Today, it is possible to choose and live subjective stories that the first psychoanalytic patients could only dream of. Different troubles and enjoyments are speakable and unspeakable; different selves are rejected, discovered, or sought. Many kinds of hitherto unrepresented or unrepresentable identity have entered into the ordinary surrounding stories through which children and adults find their bearings in the world, while others have become obsolete. Biographical narratives that would previously have seemed unthinkable or incredible--"a likely story!"--have acquired the straightforward plausibility of a likely story.
This book takes two Freudian routes to think about some of the present entanglements of identity. First, it follows Freud in returning to Greek tragedies--Oedipus and others--which may now appear strikingly different in the light of today's issues of family and sexuality. And second, it re-examines Freud's own theories from these newer perspectives, drawing out different strands ofhis stories of how children develop and how people change (or don't). Both kinds of mythology, the classical and the theoretical, may now, in their difference, illuminate some of the forming stories of our contemporary world of serial families, multiple sexualities, and new reproductive technologies.

The Lingua Ignota, "brought forth" by the twelfth-century German nun Hildegard of Bingen, provides 1012 neologisms for praise of Church and new expression of the things of her world. Noting her visionary metaphors, her music, and various medieval linguistic philosophies, Higley examines how the "Unknown Language" makes arid signifiers green again. This text, however, is too often seen in too narrow a context: glossolalia, angelic language, secret code. Higley provides an edition and English translation of its glosses in the Riesencodex (with assistance from the Berlin MS) , but also places it within a history of imaginary language making from medieval times to the most contemporary projects in efforts to uncover this woman s bold involvement in an intellectual and creative endeavor that spans centuries.

Shahnama Studies III focuses on the hugely successful afterlife of the Shahnama or Book of Kings, completed by the poet Firdausi around 1010 AD. This long epic grew out to be an icon of Persian culture and served as a source of inspiration for art and literature, leaving its traces in manifold ways. The contributors to this volume each treat an aspect of the rich legacy of the Shahnama and offer new insights in Shahnama manuscript studies, the illustration of the Shahnama, the phenomenon of later epics, and the Shahnama in later texts and contexts.

The Satyrica is a thrilling piece of literature and rare example of the Roman novel, credited to Titus Petronius. It is as modern today as in the time when it was written under the Roman emperor Nero. This is the first comprehensive commentary on the whole of Petronius' Satyrica, and an attempt to unify and comprehend, as much as possible, the fragmentary text by looking carefully at the bits and pieces which have survived. The Satyrica's unique nature as a historical document from the ancient world has meant that it has been studied vigorously by social historians; it provides rare insights into the lives of ordinary Roman people, such as the narrative about Trimalchio the Roman businessman, as well as documenting the evolution of Latin into the various Romance languages as we know them today. Petronius puts into the mouth of each of his characters a distinctive and socially defining level of Latin, so that the world of the Satyrica is populated not by characters who speak a kind of Latin which made Latin a dead language, but by flesh and blood people who have made Latin live until today. Schmeling's commentary offers readers a comprehensive analysis of this historically important text through philological, linguistic, historical, and narratological discussions, while highlighting past doubts on Petronius' authorship of the Satyrica.

This classic work not only records developments in the form and style of Greek drama, it also analyses the reasons for these changes. It provides illuminating answers to questions that have confronted generations of students, such as:
* why did Aeschylus introduce the second actor?
* why did Sophocles develop character drawing?
* why are some of Euripides' plots so bad and others so good?
Greek Tragedy is neither a history nor a handbook, but a penetrating work of criticism which all students of literature will find suggestive and stimulating.

eBook available with sample pages: 0203412605

The earlier part of the commentary by 'Philoponus' on Aristotle's On the Soul is translated by William Charlton in another volume in the series. This volume includes the latter part of the commentary along with a translation of Stephanus' commentary on Aristotle 's On Interpretation. It thus enables readers to assess for themselves Charlton's view that the commentary once ascribed to Philoponus should in fact be ascribed to Stephanus. The two treatises of Aristotle here commented on are very different from each other. In On Interpretation Aristotle studies the logic of opposed pairs of statements. It is in this context that Aristotle discusses the nature of language and the implications for determinism of opposed predictions about a future occurrence, such as a sea-battle. And Stephanus, like his predecessor Ammonius, brings in other deterministic arguments not considered by Aristotle ('The Reaper' and the argument from God's foreknowledge). In On the Soul 3.9-13, Aristotle introduces a theory of action and motivation and sums up the role of perception in animal life. Despite the differences in subject matter between the two texts, Charlton is able to make a good case for Stephanus' authorship of both commentaries. He also sees Stephanus as preserving what was valuable from Ammonius' earlier commentary On Interpretation, while bringing to bear the virtue of greater concision. At the same time, Stephanus reveals his Christian affiliations, in contrast to Ammonius, his pagan predecessor.

This two-volume work, Latin-into-Hebrew: Texts and Studies sheds new light on an under-investigated phenomenon of European medieval intellectual history: the transmission of knowledge and texts from Latin into Hebrew between the twelfth and the fifteenth century. Volume One: Studies, offers 18 studies and Volume Two: Texts in Contexts, includes editions and analyses of hitherto unpublished texts of medieval Latin-into-Hebrew translations. Both volumes are available separately or together as a set.

Literature in English is hardly ever entirely in English. Contact with other languages takes place, for example, whenever foreign languages are introduced, or if a native style is self-consciously developed, or when aspects of English are remade in the image of another language. Since the Renaissance, Latin and Greek have been an important presence in British poetry and prose. This is partly because of the importance of the ideals and ideologies founded and elaborated on Roman and Greek models. Latin quotations and latinate English have always been ways to represent, scrutinize, or satirize the influential values associated with Rome. The importance of Latin and Greek is also due to the fact that they have helped to form and define a variety of British social groups. Lawyers, Catholics, and British gentlemen invested in Latin as one source of their distinction from non-professionals, from Protestants, and from the unleisured. British attitudes toward Greek and Latin have been highly charged because the animus that existed between groups has also been directed toward these languages themselves. English Literature and Ancient Languages is a study of literary uses of language contact, of English literature in conjunction with Latin and Greek. While the book's emphasis is literary, that is formal and verbal, its goal is to discover how social interests and cultural ideas are, and are not, mediated through language.

"High and Mighty Queens" of Early Modern England is a truly interdisciplinary anthology of essays including articles on such actual queen regnants as Mary I and Elizabeth I, and queen consorts such as Anne Boleyn, Anna of Denmark, and Henrietta Maria. The collection also deals with a number of literary representations of earlier historical queens such as Cleopatra, and semi-historical ones such as Gertrude, Tamora, and Lady Macbeth, and such fictional ones as Hermione and the queen of Cymbeline, all of them Shakespeare characters. This fascinating look at Renaissance queens also examines myth and folklore, Romantic or Victorian representations, and the depictions of queens like Catherine de Medici of France in twentieth century film.