Virgil's Cinematic Art concerns the rhetoric of visual manipulation that provokes us to envision what is written on the page, treating visual details in ancient epic not as mere scene-setting information or enhancements to any given story, but as cues for performing specific imaginative processes. Through a series of close readings centered primarily on Virgil's Aeneid, Kirk Freudenburg shows that the experiential effects that Virgil puts into play do serious narrative work of their own by structuring lines of sight, both visual and emotive, and shifting them about in ways that move readers (interpellated as viewers) into and out of the visual and emotional worlds of the story's characters. Studies of visualization in Latin poetry have tended to treat what is seen in epic as a matter of what is there to be seen, rather than an expression of how someone sees, treating images as mostly static. This study, by contrast, concerns the cinematics of ancient narrative: how words provoke an active, forward-moving process of experiential participation; poets not as verbal painters, but as projectors, purveyors of imagined happenings. Informed by cognitivist and constructivist studies of how audiences watch narrative films and make sense of what they are being given to see, Freudenburg locates new narrative content lurking in old places, brought to life within the imaginations of readers. The end result is a new approach to the question of how ancient epic tales convey narrative content through visual means.

There is no other work of Greco-Roman poetry that has evoked such dissonant reactions as Lucan's Bellum Civile. Whereas the condemnation of the epic had reached its climax in the 19th century, the 20th century saw its gradual rehabilitation. Now the time has come for a contemporary re-assessment of the fascinating epic on Rome's maior civil war. The essay-collection presents 18 articles by renowned scholars of the maior scientific communities (Australia/UK/USA, Belgium/The Netherlands, Germany/Switzerland), focussing on the relevant issues of modern Lucan-scholarship.

These are troubling days for the humanities. In response, a recent proliferation of works defending the humanities has emerged. But, taken together, what are these works really saying, and how persuasive do they prove? The Battle of the Classics demonstrates the crucial downsides of contemporary apologetics for the humanities and presents in its place a historically informed case for a different approach to rescuing the humanistic disciplines in higher education. It reopens the passionate debates about the classics that took place in late nineteenth- and early twentieth-century America as a springboard for crafting a novel foundation for the humanistic tradition. Eric Adler demonstrates that current defenses of the humanities rely on the humanistic disciplines as inculcators of certain poorly defined skills such as "critical thinking." It criticizes this conventional approach, contending that humanists cannot hope to save their disciplines without arguing in favor of particular humanities content. As the uninspired defenses of the classical humanities in the late nineteenth century prove, instrumental apologetics are bound to fail. All the same, the book shows that proponents of the Great Books favor a curriculum that is too intellectually narrow for the twenty-first century. The Battle of the Classics thus lays out a substance-based approach to undergraduate education that will revive the humanities, even as it steers clear of overreliance on the Western canon. The book envisions a global humanities based on the examination of masterworks from manifold cultures as the heart of an intellectually and morally sound education.

Incarcerated Interactions: A Theory-Driven Analysis of Applied Prison Communication is an innovative, applied edited book that uses core interdisciplinary social science theories to analyze and describe the social psychology and sociology of communicative interactions amongst incarcerated individuals. Beginning with the fundamentals of human interactions, this edited volume allows scholars across a variety of disciplines (such as criminology, sociology, communication studies, social psychology, anthropology, and economics) to become familiar with and apply the core principles and the requisite terminology of human communication within a criminological context. Each of the four sections of the text not only build upon the knowledge structures of previous chapters, but also function as stand-alone analyses and/or applications of extant scholarship within essential contexts. From a general discussion of core social science theory to the specific application of that theory in a range of scholarly contexts, this book addresses relevant issues such as mental illness and wellness, the gendered experience of inmates, recidivism rates, violence, the criminogenic effect of incarceration and the large-scale implications of prison gangs and their associated cultural influence, to name a few.

Fragile Memory, Shifting Impunity is an interdisciplinary study of commemorative sites related to human rights violations committed primarily during dictatorial rule in Argentina (1976-1983) and Uruguay (1973-1985). Taking as a departure point the 'politics of memory' - a term that acknowledges memory's propensity for engagement beyond the cultural sphere - this study shifts the focus away from exclusively aesthetic and architectural readings of marches, memorials and monuments to instead analyse their emergence and transformation in post-dictatorship Argentina and Uruguay. This book incorporates the role of state and societal actors and conflicts underpinning commemorative processes into its analysis, reading the sites within shifting contexts of impunity to explore their relationship to memory, truth seeking and justice in the long aftermath of dictatorship.

This book deals with the interface between identity, culture and literature. It aims at studying questions of cultural identity and gender in Hindi plays of the 19th- and 20th- centuries and the interplay of poetics and politics, as revealed in the work of several influential playwrights. The book explores questions related to the ways in which seven representative playwrights imagine India and its identity and the ways, in which this concept is revealed in the "narratives of the nation", its postcolonial contentions and the politics of identity, as revealed in the production of various cultural discourses. The chapters explore various aspects of the ongoing process of constructing and narrating culture, gender, the nation and identity. There has been no monograph on the questions of cultural identity in Hindi drama. This is a pioneering project and a desideratum in the field of Hindi literature, South Asian Studies, and broadly, in the study of theatre of India and of South Asian cultures and literatures.

'Still remarkably vivid. It is easier to read this for pure pleasure than just about any other ancient text' Nicholas Lezard, Guardian Ovid's sensuous and witty poem begins with the creation of the world and brings together a dazzling array of mythological tales, ingeniously linked by the idea of transformation - often as a result of love or lust - where men and women find themselves magically changed into extraordinary new beings. Including the well-known stories of Daedalus and Icarus, Pyramus and Thisbe, Pygmalion, Perseus and Andromeda, and the fall of Troy, the Metamorphoses has influenced writers and artists from Shakespeare and Chaucer to Picasso and Ted Hughes. This translation by David Raeburn is in hexameter verse, which brilliantly captures the energy and spontaneity of the original. Translated by DAVID RAEBURN with an Introduction by DENIS FEENEY

Sophocles' Electra is a riveting play with a long and varied reception. Its nuanced treatment of matricidal revenge with all the questions it raises; its compelling depictions of the idealistic, long -grieving, rebellious Electra; her compliant sister; her brother; and her mother; and its superb poetry have all contributed to making this one of Sophocles' most admired plays, as have the moral issues it raises and its political reverberations. In recent decades it has been repeatedly translated, adapted, and produced, sometimes on its own, sometimes in combination with selections from Aeschylus' Libation Bearers and (more often) Euripides' Electra. While the play certainly stands on its own in any language, reading it in the original Greek adds immense value. A commentary on the Greek text would enrich its reading by elucidating the words and world of the ancient language for those who are reading it more than twenty- five hundred years after the play was written. Such a commentary would also contribute to our understanding of other ancient Greek texts, not necessarily because they use the same words in the same way, but by providing information for contrast, comparison, and clarification. This commentary includes an introduction, text and notes, an abbreviations list, a stylistic & metrical terminology list, an appendix of recurrent words, and, a list of irregular verbs and their principal parts.

This is an impressive history about state, power and intrigues in thefifth century A.D. Byzantium, zooming on Attila and the Huns with large details, written by a Greek who visited Attila at his own risk. From a historical point of view, some nations from Eastern Europe, Asia and Africa find in Priscus a unique source for their roots. To philologians, this text fills a gap in providing an accurate apparatus and a complete demonstration of the stemma codicum.

Sixty years ago, the University of Chicago Press undertook a momentous project: a new translation of the Greek tragedies that would be the ultimate resource for teachers, students, and readers. They succeeded. Under the expert management of eminent classicists David Grene and Richmond Lattimore, those translations combined accuracy, poetic immediacy, and clarity of presentation to render the surviving masterpieces of Aeschylus, Sophocles, and Euripides in an English so lively and compelling that they remain the standard translations. Today, Chicago is taking pains to ensure that our Greek tragedies remain the leading English-language versions throughout the twenty-first century. In this highly anticipated third edition, Mark Griffith and Glenn W. Most have carefully updated the translations to bring them even closer to the ancient Greek while retaining the vibrancy for which our English versions are famous. This edition also includes brand-new translations of Euripides' "Medea", "The Children of Heracles", "Andromache", and "Iphigenia among the Taurians", fragments of lost plays by Aeschylus, and the surviving portion of Sophocles' satyr-drama "The Trackers". New introductions for each play offer essential information about its first production, plot, and reception in antiquity and beyond. In addition, each volume includes an introduction to the life and work of its tragedian, as well as notes addressing textual uncertainties and a glossary of names and places mentioned in the plays. In addition to the new content, the volumes have been reorganized both within and between volumes to reflect the most up-to-date scholarship on the order in which the plays were originally written. The result is a set of handsome paperbacks destined to introduce new generations of readers to these foundational works of Western drama, art, and life.

From archaic Sparta to classical Athens the chorus was a pervasive feature of Greek social and cultural life. Until now, however, its reception in Roman literature and culture has been little appreciated. This book examines how the chorus is reimagined in a brief but crucial period in the history of Latin literature, the early Augustan period from 30 to 10 BCE. It argues that in the work of Horace, Virgil, and Propertius, the language and imagery of the chorus articulate some of their most pressing concerns surrounding social and literary belonging in a rapidly changing Roman world. By re-examining seminal Roman texts such as Horace's Odes and Virgil's Aeneid from this fresh perspective, the book connects the history of musical culture with Augustan poetry's interrogation of fundamental questions surrounding the relationship between individual and community, poet and audience, performance and writing, Greek and Roman, and tradition and innovation.

A. A. Long presents fourteen essays on the themes of selfhood and rationality in ancient Greek philosophy. The discussion ranges over seven centuries of innovative thought, starting with Heraclitus' injunction to listen to the cosmic logos, and concluding with Plotinus' criticism of those who make embodiment essential to human identity. For the Greek philosophers the notion of a rational self was bound up with questions about divinity and happiness called eudaimonia, meaning a god-favoured life or a life of likeness to the divine. While these questions are remote from current thought, Long also situates the book's themes in modern discussions of the self and the self's normative relation to other people and the world at large. Ideas and behaviour attributed to Socrates and developed by Plato are at the book's centre. They are preceded by essays that explore general facets of the soul's rationality. Later chapters bring in salient contributions made by Aristotle and Stoic philosophers. All but one of these pieces has been previously published in periodicals or conference volumes, but the author has revised and updated everything. The book is written in a style that makes it accessible to many kinds of reader, not only professors and graduate students but also anyone interested in the history of our identity as rational animals.

This book is a study of twentieth century Polish literature in the contexts of queer theory, psychoanalysis and modernism studies. It presents readings of well-known authors such as Witold Gombrowicz or of authors gaining international fame such as Miron Bialoszewski, as well as essays on other important, but less known Polish writers. The book also offers theoretical ideas relevant outside the Polish context: the idea of "homoinfluence", the "enigmatic signifier" and its role in "paranoid cultures", the overlapping of Jewishness and queer, the discussion of queer fables for children, or the new approach to the idea of "camp" and its relation to commodity fetishism.

Oxford Classical Texts, also known as Scriptorum Classicorum Bibliotheca Oxoniensis, provide authoritative, clear, and reliable editions of ancient texts, with apparatus criticus on each page. This five volume work is a new critical text edition of the only surviving ancient commentary on Plato's Timaeus, in which Proclus encompasses seven centuries of philosophical reflection on Plato's cosmology. For many authors belonging to the Platonic tradition, Proclus' commentary is the only extant source. For late Neoplatonic authors such as Proclus, writing commentaries on works by Plato and others was in fact a way to present their own highly original philosophical doctrines. Apart from being an important source text for the historiography of philosophy, this commentary on the Timaeus thus also provides a unique access way to Proclus' own Neoplatonic views on cosmology, theology, physics, and metaphysics. This new edition is based on a thorough re-examination of the entire manuscript tradition, which has led to a complete understanding of the relation between all extant manuscripts, including the Paris palimpsest BNF Supplement grec 921, belonging to the so-called 'collection philosophique' (9th century). On the basis of digitally enhanced UV photos, the scriptio inferior of this palimpsest (containing parts of books IV and V) was made nearly fully accessible. The study of the manuscript tradition and the apparatus fontium take stock of more than 100 years of study of this circumstantial text. The edition of the text is preceded by a substantial introduction, and followed, for each book, by the edition of the scholia to the text. The final volume also comprises an edition of the remaining fragments of the lost part of the text, including an Arabic fragment, edited by Rudiger Arnzen.

‘Look at me. I am the son of a great man. A goddess was my mother. Yet death and inexorable destiny are waiting for me’

One of the foremost achievements in Western literature, Homer’s Iliad tells the story of the darkest episode in the Trojan War. At its centre is Achilles, the greatest warrior-champion of the Greeks, and his refusal to fight after being humiliated by his leader Agamemnon. But when the Trojan Hector kills Achilles’ close friend Patroclus, he storms back into battle to take revenge – although knowing this will ensure his own early death. Interwoven with this tragic sequence of events are powerfully moving descriptions of the ebb and flow of battle, of the domestic world inside Troy’s besieged city of Ilium, and of the conflicts between the Gods on Olympus as they argue over the fate of mortals.

E. V. Rieu’s acclaimed translation of Homer’s Iliad was one of the first titles published in Penguin Classics, and now has classic status itself. For this edition, Rieu’s text has been revised, and a new introduction and notes by Peter Jones complement the original introduction.

Declamationes, das sind Aoebungsreden A1/4ber fiktive Themen im Rhetorikunterricht, durch die der SchA1/4ler auf seine etwaige spAtere RednertAtigkeit in der Politik, vor allem aber auch vor Gericht vorbereitet werden soll. Musterbeispiele solcher Reden konnten der Unterhaltung eines grAAeren Publikums dienen. In dieser Form rA1/4ckten sie in die NAhe anderer Prunkreden, die z.B. der Feier einer besonderen Gelegenheit oder WA1/4rdigung einer zu ehrenden Person diesen sollten. Der vorliegende Sammelband dokumentiert den aktuellen Forschungsstand zu verschiedenen Mustern der "klangvollen Rede" von der Antike bis zur Neuzeit und ist somit ein Beitrag fA1/4r eine fAcherA1/4bergreifende Diskussion zum Gattungsbegriff der declamatio, aber auch zur Geschichte der Rhetorik insgesamt.

Dracontius' work covers religious and profane poetry, including some short epics, which stand out from better-known versions of the myths, due to their variations, which are difficult to interpret. The relationship between the groups of works is disputed. Using the religious poetry, these studies initially deal with the main features of his worldview and ethics as well as his concepts of gods and myths, and examine in detail the extensive use of myths in the Laudes Dei. Using this as a basis and referring to the mythical traditions, the short epic Medea and De raptu Helenae are thoroughly analysed and interpreted. During this process the remaining profane poetry is considered and perspectives for its interpretation are demonstrated. Dracontius' approach to myth is no longer influenced by Christian rejection, allegorical appropriation or uncritical reverence of tradition, rather it is based on his new interpretations of the myths in religious and profane poetry as a synthesis of Christian world view and pagan culture. They bear witness to the altered relationship of Christians to these traditions in the late Classical period.

Book 9 of Silius Italicus' first-century Latin epic poem Punica begins the narrative of the Battle of Cannae (August 216 BC). This book is an integral part of the epic's three-book movement that narrates one of the largest battles in Roman history. It opens with the dispute between the consuls Paulus and Varro over giving battle, in the face of hostile omens and Hannibal's record of successful combat. On the eve of the battle, the Roman soldier Solymus accidentally kills his father Satricus, thereby presenting an omen of disaster for the Roman army. After Hannibal and Varro encourage their troops, the initial phase of the battle commences. The gods descend to the battlefield, and Mars and Minerva fight the sole full-scale theomachy in Latin epic. Aeolus summons the Vulturnus wind at Juno's request to devastate the Roman ranks. After the gods have departed, Hannibal's elephant troops advance and scatter the Roman forces. The book ends by recapitulating the opening episode: Varro admits his mistake in giving battle and flees the battlefield. This volume is the first full-scale commentary in English devoted exclusively to Punica 9. It features the Latin text with a critical apparatus and a parallel English translation. Detailed commentary notes provide information on literary style, use of language, poetic intertexts, and scholarly interpretation. The Introduction offers further context and background, including sections on Silius Italicus and his era, the historiographic and rhetorical traditions that he adopted, the inter- and intra-textuality of the Cannae episode, and the book's use of diction and metre.

The first in a series of volumes publishing the Sumerian literary texts in the Schoyen Collection, this book makes available, for the first time, editions of seventeen cuneiform tablets, dating to ca. 2000 BCE and containing works of Sumerian religious poetry. Edited, translated, and annotated by Christopher Metcalf, these poems shed light on the interaction between cult, scholarship, and scribal culture in Mesopotamia in the early second millennium BCE. The present volume contains fourteen songs composed in praise of the various gods of the Mesopotamian pantheon; it is believed that these songs were typically performed in temple cults. Among them are a song in praise of Sud, goddess of the ancient Mesopotamian city Shuruppak; a song describing the statue of the protective goddess Lamma-saga in the "Sacred City" temple complex at Girsu; and a previously unknown hymn dedicated to the creator god Enki. Each text is provided in transliteration and translation and accompanied by hand-copies and images of the tablets themselves. Expertly contextualizing each song in Babylonian religious and literary history, this thoroughly competent editio princeps will prove a valuable tool for scholars interested in the literary and religious traditions of ancient Mesopotamia.