Historians often refer to past events which took place prior to their narrative's proper past - that is, they refer to a 'plupast'. This past embedded in the past can be evoked by characters as well as by the historian in his own voice. It can bring into play other texts, but can also draw on lieux de memoire or on material objects. The articles assembled in this volume explore the manifold forms of the plupast in Greek and Roman historians from Herodotus to Appian. The authors demonstrate that the plupast is a powerful tool for the creation of historical meaning. Moreover, the acts of memory embedded in the historical narrative parallel to some degree the historian's activity of recording the past. The plupast thereby allows Greek and Roman historians to reflect on how (not) to write history and gains metahistorical significance. In shedding new light on the temporal complexity and the subtle forms of self-conscious reflection in the works of ancient historians, Time and Narrative in Ancient Historiography significantly enhances our understanding of their narrative art.

The categories of classical narratology have been successfully applied to ancient texts in the last two decades, but in the meantime narratological theory has moved on. In accordance with these developments, Narratology and Interpretation draws out the subtler possibilities of narratological analysis for the interpretation of ancient texts. The contributions explore the heuristic fruitfulness of various narratological categories and show that, in combination with other approaches such as studies in deixis, performance studies and reader-response theory, narratology can help to elucidate the content of narrative form. Besides exploring new theoretical avenues and offering exemplary readings of ancient epic, lyric, tragedy and historiography, the volume also investigates ancient predecessors of narratology.

The concept of mimesis has dominated reflection on the nature and role, in Greek literature, of representation. Jonas Grethlein, in his ambitious new book, takes this reflection a step further. He argues that, beyond mimesis, there was an important but unacknowledged strand of reflection focused instead on the nuanced idea of apate (often translated into English as 'deceit'), oscillating between notions of 'deception' and 'aesthetic illusion'. Many authors from Gorgias and Plato to Philo, Plutarch and Clement of Alexandria used this key concept to entwine aesthetics with ethics. In creatively exploring the various reconfigurations of apate, and placing these in their socio-historical contexts, the book offers a bold new history of ancient aesthetics. It also explores the present significance of the aesthetics of deception, unlocking the potential of ancient reflection for current debates on the ethical dimension of representation. It will appeal to scholars in classics and literary theory alike.

Ancient Greeks remembered their past before the rise of historiography and after it poetry and oratory continued to serve commemorative functions. This book explores the field of literary memory in the fifth century BCE, juxtaposing the works of Herodotus and Thucydides with samples from epinician poetry, elegy, tragedy and oratory. Various socio-political contexts and narrative forms lent themselves to the expression of diverse attitudes towards the past. At the same time, a common gravitational centre can be observed which is distinct from modern ideas of history. As well as presenting a broad overview on memory in various genres, Professor Grethlein sheds new light on the rise of Greek historiography. He views Herodotus and Thucydides against the background of memory in poetry and oratory and thereby elucidates the tension between tradition and continuity in which the shaping of historiography as a genre took place.

In this concise but stimulating book on history and Greek culture, Hans-Joachim Gehrke continues to refine his work on 'intentional history', which he defines as a history in the self-understanding of social groups and communities - connected to a corresponding understanding of the other - which is important, even essential, for the collective identity, social cohesion, political behaviour and the cultural orientation of such units. In a series of four chapters Gehrke illustrates how Greeks' histories were consciously employed to help shape political and social realities. In particular, he argues that poets were initially the masters of the past and that this dominance of the aesthetic in the view of the past led to an indissoluble amalgamation of myth and history and lasting tension between poetry and truth in the genre of historiography. The book reveals a more sophisticated picture of Greek historiography, its intellectual foundations, and its wider social-political contexts.

The past is narrated in retrospect. Historians can either capitalize on the benefit of hindsight and give their narratives a strongly teleological design or they may try to render the past as it was experienced by historical agents and contemporaries. This book explores the fundamental tension between experience and teleology in major works of Greek and Roman historiography, biography and autobiography. The combination of theoretical reflections with close readings yields a new, often surprising assessment of the history of ancient historiography as well as a deeper understanding of such authors as Thucydides, Tacitus and Augustine. While much recent work has focused on how ancient historians use emplotment to generate historical meaning, Experience and Teleology in Ancient Historiography offers a new approach to narrative form as a mode of coming to grips with time.

The taxonomies of narratology have proven valuable tools for the analysis of ancient literature, but, since they were mostly forged in the analysis of modern novels, they have also occluded the distinct quality of ancient narrative and its understanding in antiquity. Ancient Greek Texts and Modern Narrative Theory paves the way for a new approach to ancient narrative that investigates its specific logic. Jonas Grethlein's sophisticated discussion of a wide range of literary texts in conjunction with works of criticism sheds new light on such central issues as fictionality, voice, Theory of Mind and narrative motivation. The book provides classicists with an introduction to ancient views of narrative but is also a major contribution to a historically sensitive theory of narrative.

The past is narrated in retrospect. Historians can either capitalize on the benefit of hindsight and give their narratives a strongly teleological design or they may try to render the past as it was experienced by historical agents and contemporaries. This book explores the fundamental tension between experience and teleology in major works of Greek and Roman historiography, biography and autobiography. The combination of theoretical reflections with close readings yields a new, often surprising assessment of the history of ancient historiography as well as a deeper understanding of such authors as Thucydides, Tacitus and Augustine. While much recent work has focused on how ancient historians use emplotment to generate historical meaning, Experience and Teleology in Ancient Historiography offers a new approach to narrative form as a mode of coming to grips with time.

Ancient Greeks remembered their past before the rise of historiography and after it poetry and oratory continued to serve commemorative functions. This book explores the field of literary memory in the fifth century BCE, juxtaposing the works of Herodotus and Thucydides with samples from epinician poetry, elegy, tragedy and oratory. Various socio-political contexts and narrative forms lent themselves to the expression of diverse attitudes towards the past. At the same time, a common gravitational centre can be observed which is distinct from modern ideas of history. As well as presenting a broad overview on memory in various genres, Professor Grethlein sheds new light on the rise of Greek historiography. He views Herodotus and Thucydides against the background of memory in poetry and oratory and thereby elucidates the tension between tradition and continuity in which the shaping of historiography as a genre took place.

In this bold book, Jonas Grethlein proposes a new dialogue between the fields of Classics and aesthetics. Ancient material, he argues, has the capacity to challenge and re-orientate current debates. Comparisons with modern art and literature help to balance the historicism of classical scholarship with transcultural theoretical critique. Grethlein discusses ancient narratives and pictures in order to explore the nature of aesthetic experience. While our responses to both narratives and pictures are vicarious, the 'as-if' on which they are premised is specifically shaped by the form of the representation. Form emerges as a key to how narratives and pictures constitute an important means of engaging with experience. Combining theoretical reflections with close readings, this book will appeal to art historians as well as to textual scholars.

In this bold book, Jonas Grethlein proposes a new dialogue between the fields of Classics and aesthetics. Ancient material, he argues, has the capacity to challenge and re-orientate current debates. Comparisons with modern art and literature help to balance the historicism of classical scholarship with transcultural theoretical critique. Grethlein discusses ancient narratives and pictures in order to explore the nature of aesthetic experience. While our responses to both narratives and pictures are vicarious, the 'as-if' on which they are premised is specifically shaped by the form of the representation. Form emerges as a key to how narratives and pictures constitute an important means of engaging with experience. Combining theoretical reflections with close readings, this book will appeal to art historians as well as to textual scholars.

Historians often refer to past events which took place prior to their narrative's proper past - that is, they refer to a 'plupast'. This past embedded in the past can be evoked by characters as well as by the historian in his own voice. It can bring into play other texts, but can also draw on lieux de memoire or on material objects. The articles assembled in this volume explore the manifold forms of the plupast in Greek and Roman historians from Herodotus to Appian. The authors demonstrate that the plupast is a powerful tool for the creation of historical meaning. Moreover, the acts of memory embedded in the historical narrative parallel to some degree the historian's activity of recording the past. The plupast thereby allows Greek and Roman historians to reflect on how (not) to write history and gains metahistorical significance. In shedding new light on the temporal complexity and the subtle forms of self-conscious reflection in the works of ancient historians, Time and Narrative in Ancient Historiography significantly enhances our understanding of their narrative art.

The categories of classical narratology have been successfully applied to ancient texts in the last two decades, but in the meantime narratological theory has moved on. In accordance with these developments, Narratology and Interpretation draws out the subtler possibilities of narratological analysis for the interpretation of ancient texts. The contributions explore the heuristic fruitfulness of various narratological categories and show that, in combination with other approaches such as studies in deixis, performance studies and reader-response theory, narratology can help to elucidate the content of narrative form. Besides exploring new theoretical avenues and offering exemplary readings of ancient epic, lyric, tragedy and historiography, the volume also investigates ancient predecessors of narratology.

Forderungen nach Dekolonialisierung haben in den Altertumswissenschaften zuletzt eine heftige Debatte über den Platz der griechisch-römischen Antike in der Geschichte und Gegenwart ausgelöst. Jonas Grethlein zeichnet hier diese Debatte nach und entwickelt eine eigene Position. Den Advokaten der Identitätspolitik, die eine kritische Revision der Geschichte der Altertumswissenschaften und des Kanons fordern, stehen konservative Fachvertreter gegenüber, die im griechisch-römischen Altertum die Wurzeln unserer kulturellen Identität sehen. In beiden Fällen erweist sich die Kategorie der Identität als problematisch - sie verkürzt entweder den Zugriff auf die Antike narzisstisch oder überstrapaziert sie normativ. Auch Uvo Hölschers Formel des 'nächsten Fremden' kann in einer globalisierten Welt die Beschäftigung mit der Antike nicht mehr rechtfertigen - es gibt viele andere vergangene und gegenwärtige Kulturen, die uns neue Perspektiven auf die Gegenwart eröffnen können. Es ist eine zentrale Herausforderung für die Altertumswissenschaften, die Hinterlassenschaft der Antike für die Gegenwart fruchtbar zu machen. Auch wenn griechische und lateinische Texte keinen besonderen Status mehr beanspruchen können, bietet ihre Reflexivität vielfältige Ansatzpunkte für die Auseinandersetzung.

Experience, Narrative, and Criticism in Ancient Greece pursues a new approach to ancient Greek narrative beyond the taxonomies of structuralist narratologies. Focusing on the phenomenal and experiential dimension of our response to narrative, it triangulates ancient narrative with ancient criticism and cognitive approaches, opening up new vistas within the study of classical literature while ably deploying the ancient material to demonstrate the value of a historical perspective for cognitive studies. Concepts such as immersion and embodiment help to establish a more comprehensive understanding of ancient narrative and ancient reading habits, as manifested in Greek criticism and rhetorical theory. The thirteen chapters presented here tackle a broad range of narrative genres, broadly understood: besides epic, historiography, and the novel, tragedy and early Christian texts are also considered alongside non-literary media, such as dance and sculpture. Authored by international specialists in the language, literature, and culture of ancient Greece, each chapter utilizes a rich set of theoretical and methodological tools drawn from cognitive studies, phenomenology, and linguistics that place them at the vanguard of a strong new current in classical scholarship and literary criticism more generally.