In 399 BC Socrates was prosecuted, convicted, sentenced to death and executed. These events were the culmination of a long philosophical career, a career in which, without writing a word, he established himself as the figure whom all philosophers of the next few generations wished to follow. The Apologies (or Defence Speeches) by Plato and Xenophon are rival accounts of how, at his trial, Socrates defended himself and his philosophy. This edition brings together both Apologies within a single volume. The commentary answers literary, linguistic and philosophical questions in a way that is suitable for readers of all levels, helping teachers and students engage more closely with the Greek texts. The introduction examines Socrates himself, the literature generated by his trial, Athenian legal procedures, his guilt or innocence of the crimes for which he was executed, and the rivalry between Xenophon and Plato.

This book analyses the relationship between literature, history and politics in post-Soviet Russia. It explores the impact of the collapse of the USSR on Russian literature and culture and the changing content and reception of fiction on historical themes under Presidents Yeltsin and Putin. It discusses the value of various theoretical concepts, such as postmodernism, trauma, nostalgia, and the notion of discourse as power, in analysing post-Soviet historical fiction. The book shows that Russian society's confrontation with its past has remained one of the main themes of Russian culture during the period 1991-2006. Notwithstanding the gradual decline of the literature of sensational disclosure associated with Gorbachev's peresiroika, a more oblique investigation of many aspects of Russian and Soviet history and an interest in the philosophy of history have continued to be significant preoccupations of post-Soviet culture. Individual and family history continue to be explored in memoirs and autobiographical writings, while the history and destiny of Russia have been passionately debated in literary journals and the media, as Russians search for a new 'national idea' to fill the vacuum left by the collapse of communism. This study suggests that there is a remarkable continuity between post-Soviet literature and pre-revolutionary Russian literature and thought.

This book is an edited volume of eleven specially-commissioned essays by a range of established and emerging UK-based Hispanists, which assess recent developments in the disciplines falling under the umbrella of 'Iberian Studies'. These essays, which cover a wide range of time periods and geographical areas, but are united by the common question of what it means to 'Read Iberia', offer an invigorating critique of many of the critical assumptions shaping the study of Iberian languages and literatures. This volume offers a timely intervention into the debate about the current repositioning of language/literature disciplines within the UK university. Its intellectual starting point is the need for a committed and incisive re-evaluation of the role of literature and the way we teach and research it. The contributors address this issue from a diverse range of linguistic, cultural and theoretical backgrounds, drawing on both familiar and not-so-familiar texts and authors to question common reference points and critical assumptions. The volume offers not only a new and invigorating space for reimagining Iberian Studies from within, but also - through its commitment to interdisciplinary debate - an opportunity to raise the profile of Iberian Studies outside the community of academic Hispanists.

This collection of essays looks at the most recent work of Juan Goytisolo from a variety of perspectives and critical stances. The contributors, all specialists in the work of the Spanish author, employ theories of intertextuality, postmodernist irony, queer ethics and even the esoteric science of Hurufism to uncover the complexities of Goytisolo's creative practice, in particular his radical blurring of the generic boundaries between fiction, autobiography and literary criticism. Such challenging of genre conventions is seen as both integral to the author's own questioning of his identity as an expression of his radical dissidence and essential to the response his work evokes in the reader. Life and writing, autobiography and fiction, constitute the interconnecting poles of Goytisolo's artistic universe. The essays included in this volume explore the varying patterns of confluence of these twin strands in the writer's later work as a whole, but particularly in novels such as Las semanas del jardin (1997) and Carajicomedia (2000). The essays are set in context by a contribution from Juan Goytisolo himself in which he sums up his philosophy of life and writing as a pursuit of 'non-profitable knowledge'.

This book examines the present-day distribution and diachronic evolution of a set of infinitival structures in Spanish, Portuguese and Romanian, making use of extensive corpus data and investigating how pragmatic factors and usage patterns interact with syntax. After a contrastive account of the patterns of clausal subordination in Latin and Romance, the rise of prepositional infinitives is traced through the documented history of the three languages, revealing astonishing parallels in their development. The analysis of the data shows how cognitive principles such as reanalysis and entrenchment combine with parameters such as relevance and usage frequency to cause syntactic change. Beyond providing a genuine explanation for the observed processes in the Romance languages, this study offers new evidence for the existence of language-independent, cross-linguistically applicable principles and mechanisms in language change.

This monograph examines the contributions of landscape design to authority and to organization of public life in imperial Russia. Analyzing how tsars and nobles inscribed their political aspirations in the gardens they designed or inhabited, this study maps out a distinct trajectory in the meaning of landscape design. Based partly on archival documents, it explores the reasons for Catherine the Great's keen interest in landscape design. It reconstructs Grigorii Potemkin's attempts to transform the Crimea physically and symbolically into the garden of the empire. And it reveals the centrality of the garden for noblemen such as Andrei Bolotov and Alexander Kurakin, who expressed their political philosophy and their anxieties about unstable social relations through landscaping. The book follows the destiny of western aesthetic categories, notably of the picturesque, as they are first adopted, then transformed, and ultimately rejected. It analyzes the historical role and mythological representations of the country estate, along with Leo Tolstoy's fraught commitment to Yasnaya Polyana and his critique of estate mythology in War and Peace. Finally, this study exposes how the current fashion for gardening in Russia, in particular among New Russians, alludes to imperial landscaping culture in order to justify a retreat from the public sphere.

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.

Critical responses to Jeanne Hyvrard have generally categorised her as a writer of 'ecriture feminine' and/or autobiography, due to salient features of her oeuvre such as the use of first-person narrative, a cyclic writing style, and the quest for a 'female' language. Within these broader considerations, however, a recurrent motif throughout Hyvrard's writing is that of the body, specifically the female body, represented as suffering from different forms of physical/mental illness and emotional/social malaise. It is this primordial aspect of Hyvrard's work, on which surprisingly little critical analysis has been written, that this monograph explores. It has been demonstrated that Hyvrard's works can be studied as a unity as well as individually, given that all of her texts form part of her wider theory. While this theory is often referred to in abstract terms as 'pensee ronde', 'pensee globale' or 'pensee-femme', this study shows that it can be more specifically highlighted as a theory of dis(-)ease (i.e. the intertwining of physical malady and social malaise, medical terms and metaphor), and, particularly, as a social theory of the dis(-)eased female body.

This book is the first critical attempt made in any language to re-examine the entire oeuvre of Bruno Jasień ski (1901-1938). It takes into account the writer's lifelong concerns but places them in the context of the universal value of his writing, generated by his modernist passions and his fascination with the grotesque - an artistic device that was consonant with his need to portray life in all its complexities. The author relies on the grotesque as an element that unifies Jasień ski's futuristic poetry with his prose. Especially important in this regard is the close reading of Jasień ski's satiric grotesques written in the Soviet Union. The author does not avoid the intricacies and difficult questions of Jasień ski's ideological commitment but focuses mainly on the consequences that the highly ambivalent and ambiguous nature of the grotesque has on the interpretation of his work.

Slovenia gained its independence in 1991, and joined the European Union in 2004. This book, with its substantial introduction and four Slovene plays in translation, makes a unique contribution to an understanding of both the dramatic and theatrical history of this period of enormous political change in Slovenia. The Great Brilliant Waltz (1985) by Drago Janč ar was written and produced when Slovenia was still part of the former Yugoslavia. This black comedy is set in the mental hospital 'Freedom Sets Free', a metaphor for the totalitarian society of the communist era. Draga Potoč njak is foremost among the few female playwrights in Slovenia. Based on real events, The Noise Animals Make is Unbearable (2003) shows a mentally retarded and severely autistic Bosnian boy after soldiers kill his whole family in front of his eyes, leaving only his grandmother. Critics have seen the play as the best tribute that Slovene drama has offered to the victims of the Bosnian war. The fabric of Duş an Jovanović 's comedy The Boozski Clinic (1999) is the transition into capitalism. Losers on the edge of society, examples of the collateral damage of a newly capitalist society whose rules of operating they do not wish to obey, congregate in a small bar in a small town which used to be the pride of the communist government. Matjaz Zupancic's play The Corridor (2004) is set in the corridor outside a television studio where the 'reality' programme 'Big Brother' is being filmed. The ever-present television camera in the studio represents current invisible but nonetheless totalitarian power, with its technical interference and controlling of individuals' lives.

Can female-authored French and German crime novels be read as part of an international phenomenon of feminist revisions of the crime genre? This book examines the status of female crime writers and their female investigators in France and Germany, focusing on four novels of the 1990s and their reception. In Germany the rise of the Frauenkrimi has been accompanied by fears of ghettoization on the part of women writers, and hostile reactions from critics to perceived feminist ideology, while in France the encroachment of women on the masculine terrain of the roman noir has given rise to retrenchments and defensive redefinitions. Far from being a simple source of pleasure, female-authored crime novels in France and Germany are a site of conflict; this study exposes the terms of this conflict and demonstrates the continued centrality of gender issues in literary studies.

This book seeks to establish the degree to which Gallicisms permeated the Russian language in the eighteenth century. The largest group of borrowings were the semantic and phraseological calques. In order to examine this influence, the author has selected scores of examples from the original works, translations and correspondence of Russian writers from the 1730s to the end of the century. The calques analysed belong to various registers of the literary language, from the prose used in essays and correspondence to the most lyrical form found in poetry and certain translations. This book concludes that the French influence was overwhelming and fully enhanced the Russian literary language that was developed during this period.

This collection of essays, inspired by Andre Breton's concept of the limites non-frontieres of Surrealism, focuses on the crossings, intersections and margins of the surrealist movement rather than its divides and exclusion zones. Some of the essays originated as papers given at the colloquium 'Surrealism: Crossings/Frontiers' held at the Institute of Romance Studies, University of London, in November 2001. Surrealism is foregrounded as a trajectory rather than a fixed body of doctrines, radically challenging the notion of frontiers. The essays explore real and imaginary journeys, as well as the urban derives of the surrealists and situationists. The concept of crossing, central to a reading of the dynamics at work in Surrealism, is explored in studies of the surrealist object, which eludes or elides genres, and explorations of the shifting sites of identity, as in the work of Joyce Mansour or Andre Masson. Surrealism's engagement with frontiers is further investigated through a number of revealing cases, such as a political reading of 1930s photography, the parodic rewriting of the popular 'locked room' mystery, or the surrealists' cavalier redrawing of the map of the world. The essays contribute to our understanding of the diversity and dynamism of Surrealism as an international and interdisciplinary movement.

This book contains the first complete English translation, fully annotated, of the treatise Concerning Frequent Communion, commonly attributed to Sts. Makarios of Corinth and Nikodemos the Hagiorite, the compilers of the Philokalia. This pivotal treatise, by two central figures in the Kollyvades movement, which originated on Mount Athos in the late eighteenth and early nineteenth centuries, addresses a somewhat less well-known corollary issue in Orthodox spirituality, that of frequent Communion. The authors discuss the controversy surrounding a decline in the frequency of Communion in the Christian East, the relationship of that controversy to the Kollyvades movement, and the theological arguments in support of frequent Communion advanced by Makarios and Nikodemos, whose joint authorship of the treatise they endeavor to substantiate.

Maxim Gorky was dubbed the father of socialist realism in the Soviet period, but he had forged his career as an internationally known novelist and dramatist some three or more decades earlier. Posing questions that Soviet critics found difficult to confront, the author examines the effects of exile and religion on the content and form of the plays as well as the role played by women, and the personal and political implications of motherhood. All sixteen of Gorky's published plays are covered, and the book explores whether this body of work has themes and styles to unify it. While conflict is central to the core political themes and also infiltrates many aspects of the dramatic style (cartoonish and grotesque), other less expected themes and styles emerge. Viewing the post-revolutionary plays as a development of earlier work leads to a question rarely posed: are the plays written by Gorky in the process of defining the new Party-inspired socialist realism in fact less about socialist realist issues of conformity, and more about Gorky's own painful life experience? And what is equally under the microscope is a search for the monumental style frequently associated with socialist realist theatre: the proposed origins of the spatial grandeur in Gorky's plays come as a surprise.

This book examines the contribution made by Joaquim Nabuco (1849-1910) to political thought in Brazil during the Belle Epoque (1888-1910). Nabuco was once leader of the abolitionist cause in Brazil and turned his attention after the abolition of slavery in 1888 to saving the monarchy. This study traces Nabuco's views on the monarchic institution in Brazil, considering first the origins of his (liberal) monarchist beliefs and his ideas on how the institution should adapt to half the threat of republicanism before 1889. It concentrates on the first decade of the Republic and the ways in which Nabuco presented a challenge to the new regime. By examining the impact of his views on the State's domestic and international roles, the book reveals Nabuco's contribution to nation-building in late-nineteenth-century Brazil.

First published in 1987, this is a critical edition of the 1647 text by the Scottish author Alexander Ross which offered the Renaissance reader not only a wealth of factual information concerning the gods, goddesses, heroes and monsters of ancient myth and legend, but also served as a treasury of interpretation and commentary ingeniously explaining the facts in terms moral, theological, historical and scientific. The critical edition brought this text alongside its counterparts, Cartari's Imagini and Comes' Mythologia, which had in recent years begun to receive the scholarly recognition they deserve. It constituted a preliminary essay at defining a distinctively English approach to mythological studies by focusing on the only original myth handbook produced in Renaissance England which in scope and intent may be placed next to the great compilations of the Continent.

What impact did Cardinal's texts have on the 1970s feminist movement? What is her position in relation to French women's writing and the French literary tradition today? This volume brings together a series of papers given at the first international conference on the influential feminist author Marie Cardinal. Leading critics of Cardinal's oeuvre engage in analysis alongside new commentators in the field. The collection provides an extensive yet cohesive overview of Cardinal's writing, including original commentaries on earlier works like

The papers collected in this volume include a selection of those presented at a conference which took place at the University of Minho, Portugal, in July 2001 held under the auspices of the project

Even after the turbulent events that culminated in the Revolution of 1848, French women remained disenfranchised and disillusioned due to their exclusion from the public domain. However, a group of pioneering women persistently challenged the issue of civil rights and the legal minority of women in many genres: beginning with feminist journals then satirical poetry, fiction, pamphlets, posters, treatises, inspirational slogans, letters, and even travelogues. This book gives an overview of the corpus of writings by women at this historic moment and examines the political culture into which these writings were produced. Joyce Dixon-Fyle argues that the genres selected by women writers such as Eugenie Niboyet, Jeanne Deroin, Jenny d'Hericourt, Juliette Adam, Maria Deraimes were simply modes of expression determined less by choice than by the repressive politics and censorship of the July Monarchy, which was relentless in its attempts to silence and marginalize women.

This volume gathers together articles by leading international scholars of nineteenth-century culture in Europe. The contributions were originally presented at the conference 'Textual Intersections in the Nineteenth Century: European Literatures, Histories and Arts' held at Cardiff University in July 2001. The book explores depictions of gender, sexuality and the family in literature and is interdisciplinary in scope. It includes pieces on art history, book illustration, dance, music and philosophy as these intersect with literature in the portrayal of desire in nineteenth-century Europe. Each article attempts to foreground the links between genres, national traditions, and differing art forms in the exploration of representations of desire in nineteenth-century European literature.

In celebrating the academic career and practice of a distinguished scholar of French literature, this volume concentrates on one of Peter Broome's major preoccupations and attainments: translation. Eschewing a dogmatic, theoretical approach, the contributors (former colleagues and students) tackle four rich areas of study: modern anglophone poets' reactions to, and translations of, authors with whom they have closely identified (Racine, the Symbolists, Saint-John Perse, Valery); problematics of translating specific poets of recent centuries (Rimbaud, Mallarme, Valery, Cesaire, some contemporary poets); reception and interaction in two foreign countries (Australia, Spain); and a more fluid interpretation of translation, moving the notion across into wider realms of literary expression (Mallarme, Proust, Assia Djebar). A focalising feature, punctuating the volume, are Peter Broome's own translations of hitherto unpublished poems by five major contemporary French writers: Jean-Paul Auxemery, Marie-Claire Bancquart, Louise Merlin, Venus Khoury-Ghata and Jean-Charles Vegliante. The book thus intertwines theory and practice in a non-prescriptive manner which invites further elaboration and analysis.

The thirteen essays in this volume, based on selected papers given at the Second Annual Conference of the Society of Dix-Neuviemistes (2003), explore the relationships between symbolic, monetary and literary currencies in nineteenth-century France, Essays focus on the sometimes surprising treatment of capitalism and commodity culture in the works of Mallarme, Zola and Huysmans; the transfer and borrowing of economic and literary commodities, names, and concepts in nineteenth-century culture, from Flora Tristan's July Monarchy to Schwob's fin-de-siecle moment; and the interplay between wealth and identity, and commerce and globalisation, in the writings of Hugo, Janin, and Balzac. While it is widely acknowledged that the theme of money is central to nineteenth-century literature, this volume is innovative in tracing the variation, breadth and ubiquity of the idea of currencies in the cultural imaginary of the epoch.

Most historians and literary critics describe Spanish Golden-Age society as anti-Semitic, offering, for example,

This book is a comparative study of Polish psychological verbs. The analysis concentrates on the lexicon-syntax interface of psych verbs, and constitutes an argument in favour of its strong dependence on event structure. The aim of this study is to show that the class of Polish psych verbs, as in many other languages, is not uniform. The analysed subclasses are differentiated on the basis of their causation and stativity. The marriage of those semantic traits and their structural representation is possible only if it is performed via event structure configuration, a layer which appears to underlie the conceptualisation of events.