This book explores the popularization in the Renaissance of the still pervasive myth that later cultures are the hereditary descendants of ancient or older cultures. It shows how the new techne of systematic genealogy facilitated the process of "remythicizing" the ancient authorities.

Cultural Genealogy explores the popularization in the Renaissance of the still pervasive myth that later cultures are the hereditary descendants of ancient or older cultures. The core of this myth is the widespread belief that a numinous charismatic power can be passed down unchanged, and in concrete forms, from earlier eras. Raphael Falco shows that such a process of descent is an impossible illusion in a knowledge-based culture. Anachronistic adoption of past values can only occur when these values are adapted and assimilated to the target culture. Without such transcultural adaptation, ancient values would appear as alien artifacts rather than as eternal truths. Scholars have long acknowledged the Renaissance borrowings from classical antiquity, but most studies of translatio studii or translatio imperii tacitly accept the early modern myth that there was a genuine translation of Greek and Roman cultural values from the ancient world to the "modern." But as Falco demonstrates, this is patently not the case. The mastering of ancient languages and the rediscovery of lost texts has masked the fact that surprisingly little of ancient religious, ethical, or political ideology was retained - so little that it is crucial to ask why these myths of transcultural descent have not been recognized and interrogated. Through examples ranging from Petrarch to Columbus, Maffeo Vegio to the Habsburgs, Falco shows how the new techne of systematic genealogy facilitated the process of "remythicizing" the ancient authorities, utterly transforming Greek and Roman values and reforging them into the mold of contemporary needs. Chiefly a study of intellectual culture, Cultural Genealogy has ramifications reaching into all levels of society, both early modern and later.

"Charisma and Myth combines an interdisciplinary examination of myth with the newest developments in the application of charisma theory to history and social life.
Through scores of examples ranging from Inuit myth to Christian theology, from Malinowski to martyrology, Charisma and Myth argues definitively that the survival of myth systems mirrors the survival of such charismatic groups as modern street gangs, the Anglo-Saxon comitatus, or Satan's fallen angels in Paradise Lost. Even the smallest charismatic group generates its own set of myths, and, like larger myth systems, depends on continual revolutionary change - not, as might be expected, on the stability of its myths - to survive and to achieve longevity.
As this innovative study shows, group leaders must learn first to foster and then to manage the mild chaos and changing symbols of their myths. Charisma and Myth challenges myth theorists from the nineteenth through to the twenty-first century and adds a missing component to our understanding of how and why myths continue to grip our imaginations."

The literary establishment tends to regard Bob Dylan as an intriguing, if baffling, outsider. That changed overnight when Dylan was awarded the 2016 Nobel Prize in Literature, challenging us to think of him as an integral part of our national and international literary heritage. No One to Meet: Imitation and Originality in the Songs of Bob Dylan places Dylan the artist within a long tradition of literary production and offers an innovative way of understanding his unique, and often controversial, methods of composition. In lucid prose, Raphael Falco demonstrates the similarity between what Renaissance writers called imitatio and the way Dylan borrows, digests, and transforms traditional songs. Although Dylan's lyrical postures might suggest a post-Romantic, "avant-garde" consciousness, No One to Meet shows that Dylan's creative process borrows from and creatively expands the methods used by classical and Renaissance authors. Drawing on numerous examples, including Dylan's previously unseen manuscript excerpts and archival materials, Raphael Falco illuminates how the ancient process of poetic imitation, handed down from Greco-Roman antiquity, allows us to make sense of Dylan's musical and lyrical technique. By placing Dylan firmly in the context of an age-old poetic practice, No One to Meet deepens our appreciation of Dylan's songs and allows us to celebrate him as what he truly is: a great writer.

"Charisma and Myth" combines an interdisciplinary examination of myth with the newest developments in the application of charisma theory to history and social life.

Through scores of examples ranging from Inuit myth to Christian theology, from Malinowski to martyrology, "Charisma and Myth" argues definitively that the survival of myth systems mirrors the survival of such charismatic groups as modern street gangs, the Anglo-Saxon comitatus, or Satan's fallen angels in Paradise Lost. Even the smallest charismatic group generates its own set of myths, and, like larger myth systems, depends on continual revolutionary change - not, as might be expected, on the stability of its myths - to survive and to achieve longevity.

As this innovative study shows, group leaders must learn first to foster and then to manage the mild chaos and changing symbols of their myths. Charisma and Myth challenges myth theorists from the nineteenth through to the twenty-first century and adds a missing component to our understanding of how and why myths continue to grip our imaginations.