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Classicizing Christian poetry has largely been neglected by
literary scholars, but has recently been receiving growing
attention, especially the poetry written in Latin. One of the
objectives of this volume is to redress the balance by allowing
more space to discussions of Greek Christian poetry. The
contributions collected here ask how Christian poets engage with
(and are conscious of) the double reliance of their poetry on two
separate systems: on the one hand, the classical poetic models and,
on the other, the various genres and sub-genres of Christian prose.
Keeping in mind the different settings of the Greek-speaking East
and the Latin-speaking West, the contributions seek to understand
the impact of historical setting on genre, the influence of the
paideia shared by authors and audiences, and the continued
relevance of traditional categories of literary genre. While our
immediate focus is genre, most of the contributions also engage
with the ideological ramifications of the transposition of
Christian themes into classicizing literature. This volume offers
important and original case studies on the reception and
appropriation of the classical past and its literary forms by
Christian poetry.
Classicizing Christian poetry has largely been neglected by
literary scholars, but has recently been receiving growing
attention, especially the poetry written in Latin. One of the
objectives of this volume is to redress the balance by allowing
more space to discussions of Greek Christian poetry. The
contributions collected here ask how Christian poets engage with
(and are conscious of) the double reliance of their poetry on two
separate systems: on the one hand, the classical poetic models and,
on the other, the various genres and sub-genres of Christian prose.
Keeping in mind the different settings of the Greek-speaking East
and the Latin-speaking West, the contributions seek to understand
the impact of historical setting on genre, the influence of the
paideia shared by authors and audiences, and the continued
relevance of traditional categories of literary genre. While our
immediate focus is genre, most of the contributions also engage
with the ideological ramifications of the transposition of
Christian themes into classicizing literature. This volume offers
important and original case studies on the reception and
appropriation of the classical past and its literary forms by
Christian poetry.
This book is about the bold, beautiful, and faithful heroines of
the Greek novels and their mythical models, such as Iphigenia,
Phaedra, Penelope, and Helen. The novels manipulate readerly
expectations through a complex web of mythical variants and
constantly negotiate their adventure and erotic plot with that of
traditional myths becoming, thus, part of the imperial mythical
revision to which they add the prospect of a happy ending.
The volume focuses on the various representations of the Beyond in
later Antiquity, a period of intense interaction and competition
between various religious traditions and ideals of education. The
concepts and images clustering around the Beyond form a crucial
focal point for understanding the dynamics of religion and
education in later Antiquity. Although Christianity gradually
supersedes the pagan traditions, the literary representations of
the Beyond derived from classical literature and transmitted
through the texts read at school show a remarkable persistence:
they influence Christian late antique writers and are still alive
in medieval literature of the East and West. A specifically
Christian Beyond develops only gradually, and coexists subsequently
with pagan ideas, which in turn vary according to the respective
literary and philosophical contexts. Thus, the various
conceptualisations of the great existential unknown, serves here as
a point of reference for mirroring the changes and continuities in
Imperial and Late Antique religion, education, and culture, and
opening up further perspectives into the Medieval world.
The Homeric Centos, a poem that is Homeric in style and biblical in
theme, is a dramatic illustration of the creative cultural and
religious dialogue between Classical Antiquity and Christianity
taking place in the Roman Empire during the fifth century CE. The
text is attributed to Eudocia, empress and poet, who died in exile
in the Holy Land ca. 460. With lines drawn verbatim from Homer's
Iliad and Odyssey, the poem begins with the Creation and Fall and
ends with Jesus' Resurrection and Ascension. In this blend of
Homeric style and Christian themes, there are also echoes of
Classical and classicising literature, stretching from Homer and
drama to imperial literature. Equally prominent are echoes of
earlier Christian canonical and apocryphal works, verse models, and
theological works. In The Homeric Centos: Homer and the Bible
Interwoven, Anna Lefteratou analyzes the double inspiration of the
poem by both classical and Christian traditions. This book explores
the works relationship with the cultural milieu of the fifth
century CE and offers in-depth analysis of the scenes of Creation
and Fall, and Jesus' Passion, Resurrection, and Ascension. This
book exposes the work's debt to centuries of Homeric reception and
interpretation as well as Christian literature and exegesis, and
places it at the crossroads of Christian and pagan literary
traditions.
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