This collection of essays investigates histories in the ancient world and the extent to which the producers and consumers of those histories believed them to be true. Ancient Greek historiographers repeatedly stressed the importance of truth to history; yet they also purported to believe in myth, distorted facts for nationalistic or moralizing purposes, and omitted events that modern audiences might consider crucial to a truthful account of the past. Truth and History in the Ancient World explores a pluralistic concept of truth - one in which different versions of the same historical event can all be true - or different kinds of truths and modes of belief are contingent on culture. Beginning with comparisons between historiography and aspects of belief in Greek tragedy, chapters include discussions of historiography through the works of Herodotus, Xenophon, and Ktesias, as well as Hellenistic and later historiography, material culture in Vitruvius, and Lucian's satire. Rather than investigate whether historiography incorporates elements of poetic, rhetorical, or narrative techniques to shape historical accounts, or whether cultural memory is flexible or manipulated, this volume examines pluralities of truth and belief within the ancient world - and consequences for our understanding of culture, ancient or otherwise.

This collection of essays investigates histories in the ancient world and the extent to which the producers and consumers of those histories believed them to be true. Ancient Greek historiographers repeatedly stressed the importance of truth to history; yet they also purported to believe in myth, distorted facts for nationalistic or moralizing purposes, and omitted events that modern audiences might consider crucial to a truthful account of the past. Truth and History in the Ancient World explores a pluralistic concept of truth - one in which different versions of the same historical event can all be true - or different kinds of truths and modes of belief are contingent on culture. Beginning with comparisons between historiography and aspects of belief in Greek tragedy, chapters include discussions of historiography through the works of Herodotus, Xenophon, and Ktesias, as well as Hellenistic and later historiography, material culture in Vitruvius, and Lucian's satire. Rather than investigate whether historiography incorporates elements of poetic, rhetorical, or narrative techniques to shape historical accounts, or whether cultural memory is flexible or manipulated, this volume examines pluralities of truth and belief within the ancient world - and consequences for our understanding of culture, ancient or otherwise.

Prometheus Bound is a play beloved of revolutionaries, romantics and rebels, though its blazing idealism is tempered with an acute awareness of the compromises, dangers and obsessions of political action. This companion sets the play in its historical context, explores its challenge to authority, and traces its reception from the seventeenth to the twentieth centuries. Many scholars have disputed its Aeschylean authorship, but it has proved the most influential of tragedies outside academia. Marx 's favourite tragedy, Prometheus Bound is also a foundational text for the genre of science fiction through its influence on Mary Shelley 's Frankenstein. In its open-eyed celebration of technology and democracy, it is the tragedy for the modern age.

The collision of politics and claims of political intervention with the fantastic, absurd, and impossible is characteristic of the Athenian comic drama of the late fifth and early fourth century BCE, and has proved persistently problematic for critics. This book sets the impossible centre-stage and argues that comic impossibility should not be ignored in political readings or, conversely, used as a reason for excluding comedy from political interventions, but that anti-realism and the absurd are precisely the mechanisms through which this sort of comedy had political and social effects, manipulated its audience, and maintained its position in an environment of many competing political claims. Drawing on a variety of theoretical paradigms, from semiotics and humour theory through to ancient literary criticism, this book seeks to articulate a model of comic narrative and argument that can be applied equally both to the impossible worlds of Old Comedy and those of related forms of comedy in other traditions. This model emphasizes complex and provisional conceptual development over the linear and inflexible models of traditional models of comic narrative, and makes the joke and routine the base elements of comic plot. Pervasive comic self-reflexivity ('metatheatre') is presented as a special case of comic impossibility and one that intensifies and consolidates audience response. The on-going dialogue with comic rivals and performance forms provides both foundational matter for comic worlds and a competitive dimension to those worlds, an argument about the best kind of comic world and a demonstration that comic anti-realism has the political and conceptual measure of its more widely-recognized and supposedly realist rivals.