Fragmented, buried, and largely lost, the classical past presents formidable obstacles to anyone who would seek to know it. 'Deep Classics' is the study of these obstacles and, in particular, of the way in which the contemplation of the classical past resembles - and has even provided a model for - other kinds of human endeavor. This volume offers a new way to understand the modalities and aims of Classics itself, through the ages. Its individual chapters draw fruitful connections between the reception of the classical and current concerns in philosophy of mind, cognitive theory, epistemology, media studies, sense studies, aesthetics, queer theory and eco-criticism. What does the study of the ancient past teach us about our encounters with our own more recent but still elusive memories? What do our always partial reconstructions of ancient sites tell us about the limits of our ability to know our own world, or to imagine our future? What does the reader of the lacunose and corrupted literatures of antiquity learn thereby about literature and language themselves? What does a shattered statue reveal about art, matter, sensation, experience, life? Does the way in which these vestiges of the past are encountered - sitting in a library, standing in a gallery, moving through a ruin - condition our responses to them and alter their significance? And finally, how has the contemplation of antiquity helped to shape seemingly unrelated disciplines, including not only other humanistic and scientific epistemologies but also non-scholarly modes and practices? In asking these and similar questions, Deep Classics makes a pointed intervention in the study of the classical tradition, now more widely known as 'reception studies'.

In recent years, the reduction of alcohol-related harm has emerged as a major policy issue across Europe. Public health advocates, supported by the World Health Organisation, have challenged an approach that targets problem-drinking individuals, calling instead for governments to control consumption across whole populations through a combination of pricing strategies, restrictions on retail availability and marketing regulations. Alcohol, Power and Public Health explores the emergence of the public health perspective on alcohol policy in Europe, the strategies alcohol control policy advocates have adopted, and the challenges they have faced in the political context of both individual states and the European Union. The book provides a historical perspective on the development of alcohol policy in Europe using four case studies - Denmark, England, Scotland and Ireland. It explores the relationship between evidence, values and power in a key area of political decision-making and considers what conditions create - or prevent - policy change. The case studies raise questions as to who sets policy agendas, how social problems are framed and defined, and how governments can balance public health promotion against both commercial interests and established cultural practices. This book will be of interest to academics and researchers in policy studies, public health, social science, and European Union studies.

Hundreds perished in Rome's Second Proscription, but one victim is remembered above all others. Cicero stands out, however, not only because of his fame, but also because his murder included a unique addition to the customary decapitation. For his corpse was deprived not only of its head, but also of its right hand. Plutarch tells us why Mark Antony wanted the hand that wrote the Philippics. But how did it come to pass that Rome's greatest orator could be so hated for the speeches he had written? Charting a course through Cicero's celebrated career, Shane Butler examines two principal relationships between speech and writing in Roman oratory: the use of documentary evidence by orators and the 'publication' of both delivered and undelivered speeches. He presents this fascinating theory that the success of Rome's greatest orator depended as much on writing as speaking; he also argues against the conventional wisdom that Rome was an 'oral society', in which writing was rare and served only practical, secondary purposes.

Hundreds perished in Rome's Second Proscription, but one victim is remembered above all others. Cicero stands out, however, not only because of his fame, but also because his murder included a unique addition to the customary decapitation. For his corpse was deprived not only of its head, but also of its right hand. Plutarch tells us why Mark Antony wanted the hand that wrote the Philippics. But how did it come to pass that Rome's greatest orator could be so hated for the speeches he had written?
Charting a course through Cicero's celebrated career, Shane Butler examines two principal relationships between speech and writing in Roman oratory: the use of documentary evidence by orators and the 'publication' of both delivered and undelivered speeches. He presents this fascinating theory that the success of Rome's greatest orator depended as much on writing as speaking; he also argues against the conventional wisdom that Rome was an 'oral society', in which writing was rare and served only practical, secondary purposes.

Like us, the ancient Greeks and Romans came to know and understand the world through their senses. Yet sensory experience has rarely been considered in the study of antiquity and, when the senses are examined, sight is regularly privileged. 'Synaesthesia and the Ancient Senses' presents a radical reappraisal of antiquity's textures, flavours, and aromas, sounds and sights. It offers both a fresh look at society in the ancient world and an opportunity to deepen the reading of classical literature. The book will appeal to readers in classical society and literature, philosophy and cultural history. All Greek and Latin is translated and technical matters are explained for the non-specialist. The introduction sets the ancient senses within the history of aesthetics and the subsequent essays explores the senses throughout the classical period and on to the modern reception of classical literature.

In recent years, the reduction of alcohol-related harm has emerged as a major policy issue across Europe. Public health advocates, supported by the World Health Organisation, have challenged an approach that targets problem-drinking individuals, calling instead for governments to control consumption across whole populations through a combination of pricing strategies, restrictions on retail availability and marketing regulations. Alcohol, Power and Public Health explores the emergence of the public health perspective on alcohol policy in Europe, the strategies alcohol control policy advocates have adopted, and the challenges they have faced in the political context of both individual states and the European Union. The book provides a historical perspective on the development of alcohol policy in Europe using four case studies - Denmark, England, Scotland and Ireland. It explores the relationship between evidence, values and power in a key area of political decision-making and considers what conditions create - or prevent - policy change. The case studies raise questions as to who sets policy agendas, how social problems are framed and defined, and how governments can balance public health promotion against both commercial interests and established cultural practices. This book will be of interest to academics and researchers in policy studies, public health, social science, and European Union studies.

Sound leaves no ruins and no residues, even though it is experienced constantly. It is ubiquitous but fleeting. Even silence has sound, even absence resonates. Sound and the Ancient Senses aims to hear the lost sounds of antiquity, from the sounds of the human body to those of the gods, from the bathhouse to the Forum, from the chirp of a cicada to the music of the spheres. Sound plays so great a role in shaping our environments as to make it a crucial sounding board for thinking about space and ecology, emotions and experience, mortality and the divine, orality and textuality, and the self and its connection to others. From antiquity to the present day, poets and philosophers have strained to hear the ways that sounds structure our world and identities. This volume looks at theories and practices of hearing and producing sounds in ritual contexts, medicine, mourning, music, poetry, drama, erotics, philosophy, rhetoric, linguistics, vocality, and on the page, and shows how ancient ideas of sound still shape how and what we hear today. As the first comprehensive introduction to the soundscapes of antiquity, this volume makes a significant contribution to the burgeoning fields of sound and voice studies and is the final volume of the series, The Senses in Antiquity.

This set includes all six titles in The Senses in Antiquity series. Buying the set provides a significant saving as opposed to buying the books separately. Series editors: Mark Bradley, University of Nottingham, UK, and Shane Butler, Johns Hopkins University, USA Like us, ancient Greeks and Romans came to know and understand their world through their senses. Yet it has long been recognized that the world the ancients perceived, and the senses through which they channelled this information could operate differently from the patterns and processes of perception in the modern world. This series explores the relationship between perception, knowledge and understanding in the literature, philosophy, history, language and culture of ancient Greece and Rome. Synaesthesia and the Ancient Senses Edited by Shane Butler and Alex Purves Smell and the Ancient Senses Edited by Mark Bradley Sight and the Ancient Senses Edited by Michael Squire Taste and the Ancient Senses Edited by Kelli C. Rudolph Touch and the Ancient Senses Edited by Alex Purves Sound and the Ancient Senses Edited by Shane Butler and Sarah Nooter

Sound leaves no ruins and no residues, even though it is experienced constantly. It is ubiquitous but fleeting. Even silence has sound, even absence resonates. Sound and the Ancient Senses aims to hear the lost sounds of antiquity, from the sounds of the human body to those of the gods, from the bathhouse to the Forum, from the chirp of a cicada to the music of the spheres. Sound plays so great a role in shaping our environments as to make it a crucial sounding board for thinking about space and ecology, emotions and experience, mortality and the divine, orality and textuality, and the self and its connection to others. From antiquity to the present day, poets and philosophers have strained to hear the ways that sounds structure our world and identities. This volume looks at theories and practices of hearing and producing sounds in ritual contexts, medicine, mourning, music, poetry, drama, erotics, philosophy, rhetoric, linguistics, vocality, and on the page, and shows how ancient ideas of sound still shape how and what we hear today. As the first comprehensive introduction to the soundscapes of antiquity, this volume makes a significant contribution to the burgeoning fields of sound and voice studies and is the final volume of the series, The Senses in Antiquity.

A search for traces of the voice before the phonograph, reconstructing a series of ancient soundscapes from Aristotle to Augustine. Long before the invention of musical notation, and long before that of the phonograph, the written word was unrivaled as a medium of the human voice. In The Ancient Phonograph, Shane Butler searches for traces of voices before Edison, reconstructing a series of ancient soundscapes from Aristotle to Augustine. Here the real voices of tragic actors, ambitious orators, and singing emperors blend with the imagined voices of lovesick nymphs, tormented heroes, and angry gods. The resonant world we encounter in ancient sources is at first unfamiliar, populated by texts that speak and sing, often with no clear difference between the two. But Butler discovers a commonality that invites a deeper understanding of why voices mattered then and why they have mattered since. With later examples that range from Mozart to Jimi Hendrix, Butler offers an ambitious attempt to rethink the voice-as an anatomical presence, a conceptual category, and a source of pleasure and wonder. He carefully and critically assesses the strengths and limits of recent theoretical approaches to the voice by Adriana Cavarero and Mladen Dolar and makes a rich and provocative range of ancient material available for the first time. The Ancient Phonograph will appeal not only to classicists and to voice theorists but to anyone with an interest in the verbal arts-literature, oratory, song-and the nature of aesthetic experience.

Angelo Poliziano (1454-1494) was one of the great scholar-poets of the Italian Renaissance and the leading literary figure of the Age of Lorenzo de' Medici, "il Magnifico." His correspondence gives us an intimate glimpse of the revival of classical literature from the pen of a man at the very center of the Renaissance movement. This volume illuminates his close friendship with the philosopher Pico della Mirandola and includes much of the correspondence concerning the composition and reception of his "Miscellanies," a revolutionary work of philology. It also includes his famous and moving letter on the death of Lorenzo de' Medici. This volume contains the first modern edition of the Latin text and the first translation of the letters into English.

Like us, the ancient Greeks and Romans came to know and understand the world through their senses. Yet sensory experience has rarely been considered in the study of antiquity and, when the senses are examined, sight is regularly privileged. 'Synaesthesia and the Ancient Senses' presents a radical reappraisal of antiquity's textures, flavours, and aromas, sounds and sights. It offers both a fresh look at society in the ancient world and an opportunity to deepen the reading of classical literature. The book will appeal to readers in classical society and literature, philosophy and cultural history. All Greek and Latin is translated and technical matters are explained for the non-specialist. The introduction sets the ancient senses within the history of aesthetics and the subsequent essays explores the senses throughout the classical period and on to the modern reception of classical literature.

John Addington Symonds (Bristol 1840 - Rome 1893) was one of Victorian Britain's most prolific authors, with works that included poems, translations, travel essays, and scholarly studies on topics ranging from classical literature to the Renaissance to the poetry of his contemporaries. Today, however, he is usually remembered for his long unpublished Memoirs, a major early monument of queer life-writing, and for two privately printed, secretly circulated essays, one of which includes the earliest printed appearance in English of the word homosexual. This new word, first coined in German, has long provided a useful milestone for historians of sexuality charting the emergence not only of new typologies but of whole new regimes of knowledge. But what of the rest of Symonds's vast body of work? This book returns to Symonds, not as the origin of a now familiar history, but as a far more complex thinker, with an ambitious vision of the queerness of the world itself-and of what it means to live in it.

Fragmented, buried, and largely lost, the classical past presents formidable obstacles to anyone who would seek to know it. 'Deep Classics' is the study of these obstacles and, in particular, of the way in which the contemplation of the classical past resembles - and has even provided a model for - other kinds of human endeavor. This volume offers a new way to understand the modalities and aims of Classics itself, through the ages. Its individual chapters draw fruitful connections between the reception of the classical and current concerns in philosophy of mind, cognitive theory, epistemology, media studies, sense studies, aesthetics, queer theory and eco-criticism. What does the study of the ancient past teach us about our encounters with our own more recent but still elusive memories? What do our always partial reconstructions of ancient sites tell us about the limits of our ability to know our own world, or to imagine our future? What does the reader of the lacunose and corrupted literatures of antiquity learn thereby about literature and language themselves? What does a shattered statue reveal about art, matter, sensation, experience, life? Does the way in which these vestiges of the past are encountered - sitting in a library, standing in a gallery, moving through a ruin - condition our responses to them and alter their significance? And finally, how has the contemplation of antiquity helped to shape seemingly unrelated disciplines, including not only other humanistic and scientific epistemologies but also non-scholarly modes and practices? In asking these and similar questions, Deep Classics makes a pointed intervention in the study of the classical tradition, now more widely known as 'reception studies'.