Diese Festschrift wurde dem Sprachwissenschaftler Winfried Boeder (Universitat Oldernburg) zu seinem 65. Geburtstag von seinen Freunden, Kollegen und Schulern zugeeignet. Dem vielseitigen, recht unterschiedliche Aspekte naturlicher Sprachen berucksichtigenden Werk des Jubilars entsprechend, umfasst der Band Studien zu drei verschiedenen, doch miteinander verbundenen Bereichen: zur Philologie (einschlieBlich sprachkultureller Aspekte), zur Sprachtypologie und zur Sprachstruktur (sowohl zur Struktur einzelner Sprachen als auch zum Sprachvergleich). Einen Schwerpunkt bilden Untersuchungen zu kaukasischen Sprachen, ganz besonders zum Georgischen, wobei in vielfaltiger Weise an Analysen des Jubilars angeknupft wurde. This festschrift is cordially and respectfully dedicated to the linguist Winfried Boeder (University of Oldenburg, Germany) to honour him as a friend, colleague and teacher on the occasion of his 65th birthday. Winfried Boeder is not only one of the most distinguished scholars of Caucasian languages b ut he is also widely recognised for the great and continuing contribution he has made to the field of general and comparative linguistics. Accordingly, the present volume includes papers on three separate but related areas: philology (both from a linguistic and cultural point of view), language typology and language structure (including comparative studies). The 25 contribution are thus held together by the links they have with various aspects of winfried Boeder's work. Georgian, a language for which he has a particular affection, is the topic of a large number of papers, both from a synchronic and diachronic point of view.

If Greek tragedies are meant to be so tragic, why do they so often end so well? Here starts the story of a long and incredible misunderstanding. Out of the hundreds of tragedies that were performed, only 32 were preserved in full. Who chose them and why? Why are the lost ones never taken into account? This extremely unusual scholarly book tells us an Umberto Eco-like story about the lost tragedies. By arguing that they would have given a radically different picture, William Marx makes us think in completely new ways about one of the major achievements of Western culture. In this very readable, stimulating, lively, and even sometimes funny book, he explores parallels with Japanese theatre, resolves the enigma of catharsis, sheds a new light on psychoanalysis. In so doing, he tells also the story of the misreadings of our modernity, which disconnected art from the body, the place, and gods. Two centuries ago philosophers transformed Greek tragedies into an ideal archetype, now they want to read them as self-help handbooks, but all are equally wrong: Greek tragedy is definitely not what you think, and we may never understand it, but this makes it matter all the more to us.

This is the OCR-endorsed publication from Bloomsbury for the Latin AS and A-Level (Group 3) prescription of Ovid's Amores 1.1 and 2.5, Propertius 1.1 and Tibullus 1.1 with the A-Level (Group 4) prescription of Ovid's Amores 2.7 and 2.8, Propertius 1.3 and 2.14 and Tibullus 1.3, giving full Latin text, commentary and vocabulary, with a detailed introduction that also covers the prescribed text to be read in English for A Level. Propertius, Tibullus and Ovid are our three main writers of Latin love elegy. The selected poems depict the bitter-sweet love affairs of the poet-lovers and their mistresses, from the heartbreak of rejection to the elation at love reciprocated. While Propertius's and Ovid's setting is the city and their poems show us such details of urbane Roman life as drinking parties and elaborate hair-dressing, Tibullus introduces the idyll of the countryside to the genre. Their sophisticated poems combine intense emotion with wit and irony, and celebrate the life of love and their mistresses, Propertius's Cynthia, Tibullus's Delia and Nemesis, and Ovid's Corinna.

Plato challenges his readers by depicting an elderly Socrates as an enthusiastic student of rhetoric who has learned from his teacher Aspasia to recite an inspiring funeral oration, an oration that conspicuously refers to events occurring after the deaths of Socrates and Aspasia, an oration that Aspasia, as a woman and a non-Athenian, was not eligible to deliver over the Athenians who died in war. This commentary, the first in English in over 100 years, assists the modern reader in confronting Plato's challenge. The Introduction sets the dialogue in the context of the traditional Athenian funeral oration and of Plato's ongoing critique of contemporary rhetoric. The Commentary, which is well suited to the needs and interests of intermediate students of Classical Greek, provides guidance on grammatical and historical matters, while allowing the student to appreciate Plato's mastery of Greek prose style and critique of democratic ideology.

HarperCollins is proud to present its incredible range of best-loved, essential classics. Confessions describes Saint Augustine's conversion to Christianity and is the basis for his reputation as one of Christianity's most influential thinkers.

The theatre of Ana Diosdado and Paloma Pedrero in Spain, and Aida Bortnik and Griselda Gambaro in Argentina, written between 1960 and 1990, reveals an increasing preoccupation with women's issues together with a continuing awareness of problematic political realities. Whether they challenge the strict separation between the private and the public, or whether they choose to uphold that distinction, these authors make the personal political by appropriating the public space - the stage - for the stories of women.

Seamus Heaney's version of Sophocles's Philoctetes tells of the wounded hero marooned upon an island by the Greeks during the Siege of Troy. As the conflict comes to a climax, the Greeks begin to realise they cannot win the Trojan war without Philoctetes's invincible bow, and turn back to seek his help.

The Cure at Troy dramatises the conflict between personal integrity and political expediency, and explores ways in which the victims of injustice can become as devoted to the contemplation of their wounds as the perpetrators are to the justification of their system. Responsive to the Greek playwright's understanding of the relations between public and private morality, The Cure at Troy is a sharp, fast-paced retelling of the Greek original, shot through with Heaney's own Irish speech and context.

History says, Don't hope

On this side of the grave.

But then, once in a lifetime

The longed-for tidal wave

Of justice can rise up,

And hope and history rhyme.

High King Agamemnon faces the most crushing dilemma of his life. Kill his beloved eldest daughter? Or forfeit victory in the Trojan War? A father's secret plot clashes with a girl's romantic dreams in this chilling classic play from Ancient Greece. The most powerful dramatic script by EURIPIDES springs to life anew in a fresh adaptation by writer EDWARD EINHORN (Paradox in Oz, Fractions in Disguise, The Marriage of Alice B. Toklas by Gertrude Stein) with AGE OF BRONZE art by Eisner Award-winning ERIC SHANOWER (AGE OF BRONZE, Oz Graphic Novels, Little Nemo: Return to Slumberland).

Plato of Athens, who laid the foundations of the Western philosophical tradition and in range and depth ranks among its greatest practitioners, was born to a prosperous and politically active family circa 427 BC. In early life an admirer of Socrates, Plato later founded the first institution of higher learning in the West, the Academy, among whose many notable alumni was Aristotle. Traditionally ascribed to Plato are thirty-five dialogues developing Socrates' dialectic method and composed with great stylistic virtuosity, together with the Apology and thirteen letters. The three works in this volume, though written at different stages of Plato's career, are set toward the end of Socrates' life (from 416) and explore the relationship between two people known as love (eros) or friendship (philia). In Lysis, Socrates meets two young men exercising in a wrestling school during a religious festival. In Symposium, Socrates attends a drinking party along with several accomplished friends to celebrate the young tragedian Agathon's victory in the Lenaia festival of 416: the topic of conversation is love. And in Phaedrus, Socrates and his eponymous interlocutor escape the midsummer heat of the city to the banks of the river Ilissus, where speeches by both on the subject of love lead to a critical discussion of the current state of the theory and practice of rhetoric. This edition, which replaces the original Loeb editions by Sir Walter R. M. Lamb and by Harold North Fowler, offers text, translation, and annotation that are fully current with modern scholarship.

This accessible edition for students presents Herodotus as one of the most fascinating and colourful authors from the ancient world. Book III of Herodotus’ nine-book work is one of the richest in its exploration of themes, such as the practices and customs of different peoples and the nature of political power, issues still much debated today. This commentary illuminates the geographical and even anthropological scope of Herodotus' history, and enables students to confidently tackle the text in the original Greek. Bringing together a full introduction, text, commentary and translation, Longley makes Herodotus accessible to students of ancient Greek. This guide shows us why Herodotus is still considered the ‘Father of History’.

It is a truth universally acknowledged that most of us could use some guidance. Whether you're looking to marry a man with several carriages to his name, are recovering from an illness caused by wet stockings or you're unsure what colour ribbon is the best match for your outfit, Jane Austen's wisdom is here to guide you through any problem. This deck of cards features insights from Austen's wide world of characters. Just shuffle the deck and pull the card on top. With illustrations of her beloved characters and their most enlightened quotes, they'll guide you through the day ahead and help you resolve your questions. Not sure you've made the right decision? "Better be without sense than misapply it as you do." Unsure what to do with your afternoon? "To sit in the shade on a fine day, and look upon verdure, is the most perfect refreshment." Confused why you're struggling to make friends? "Your defect is a propensity to hate everybody." With 50 cards to pull from, this deck will give you the insights you need, whether your sister has eloped with your ex or you're in love with your step brother.

This volume sets out to discuss a crucial question for ancient comedy - what makes Aristophanes funny? Too often Aristophanes' humour is taken for granted as merely a tool for the delivery of political and social commentary. But Greek Old Comedy was above all else designed to amuse people, to win the dramatic competition by making the audience laugh the hardest. Any discussion of Aristophanes therefore needs to take into account the ways in which his humour actually works. This question is addressed in two ways. The first half of the volume offers an in-depth discussion of humour theory - a field heretofore largely overlooked by classicists and Aristophanists - examining various theoretical models within the specific context of Aristophanes' eleven extant plays. In the second half, contributors explore Aristophanic humour more practically, examining how specific linguistic techniques and performative choices affect the reception of humour, and exploring the range of subjects Aristophanes tackles as vectors for his comedy. A focus on performance shapes the narrative, since humour lives or dies on the stage - it is never wholly comprehensible on the page alone.

The Anglo-Saxon epic Beowulf tells the story of the hero's slaying of three fabulous monsters, set against the historical background of sixth-century Scandinavian wars and dynasties. Its alliterative and metrical rules are complex, and many previous translators have attempted to replicate them. Here, blank verse has been used, as being more suitable for the less inflected and freer syntax of modern English, and therefore offering a more familiar and neutral form - less likely to distract from the interest and subtleties of the poem. Staying close to the original throughout, Richard Hamer's translation is ideal for contemporary readers to fully enjoy this early masterpiece.

James Bradley Wells shares his poet's soul and scholar's eye in this thought-provoking new translation of two of Vergil's early works, the Eclogues and Georgics. With its emphasis on a natural rather than stylized rhythm, Eclogues and Georgics honors the original spirit of ancient Roman poetry as both a written and performance-based art form. The accompanying introductory essays situate both sets of poems in a rich literary tradition. Wells provides historical context and literary analysis of these two works, eschewing facile interpretations of these oft examined texts and ensconcing them in the society and culture from which they originated. The translations in Eclogues and Georgics are augmented with annotated essays, a pronunciation guide, and a glossary. These supplementary materials, alongside Wells's bold vision for what translation choices can reveal, promote radically democratizing access for readers with an interest in classics or poetry.