"Gripping. . . . Lombardo's achievement is all the more striking when you consider the difficulties of his task. . . . [He] manages to be respectful of Homer's dire spirit while providing on nearly every page some wonderfully fresh refashioning of his Greek. The result is a vivid and disarmingly hardbitten reworking of a great classic." -Daniel Mendelsohn, The New York Times Book Review

Disguise and Recognition in the Odyssey reveals the significance of the Odyssey's plot, in particular the many scenes of recognition that make up the hero's homecoming and dramatize the cardinal values of Homeric society, an aristocratic culture organized around recognition in the broader senses of honor, privilege, status, and fame. Odysseus' identity is seen to be rooted in his family relations, geographical origins, control of property, participation in the social institutions of hospitality and marriage, past actions, and ongoing reputation. At the same time, Odysseus' dependence on the acknowledgement of others ensures attention to multiple viewpoints, which makes the Odyssey more than a simple celebration of one man's preeminence and accounts in part for the poem's vigorous afterlife. The theme of disguise, which relies on plausible lies, highlights the nature of belief and the power of falsehood and creates the mixture of realism and fantasy that gives the Odyssey its distinctive texture. The book contains a pioneering analysis of the role of Penelope and the questions of female agency and human limitation raised by the critical debate about when exactly she recognizes that Odysseus has come home.

Women and Slaves in Classical Culture examines how ancient societies were organized around slave-holding and the subordination of women to reveal how women and slaves interacted with one another in both the cultural representations and the social realities of the Greco-Roman world.
The contributors explore a broad range of evidence including:
* the mythical constructions of epic and drama
* the love poems of Ovid
* the Greek medical writers
* Augustine's autobiography
* a haunting account of an unnamed Roman slave
* the archaeological remains of a slave mining camp near Athens.
They argue that the distinctions between male and female and servile and free were inextricably connected.
This erudite and well-documented book provokes questions about how we can hope to recapture the experience and subjectivity of ancient women and slaves and addresses the ways in which femaleness and servility interacted with other forms of difference, such as class, gender and status. Women and Slaves in Classical Culture offers a stimulating and frequently controversial insight into the complexities of gender and status in the Greco-Roman world.

In this new translation of the Homeric Hymns , Sarah Ruden employs a melodious and flexible non-rhyming line of eleven syllables, offering a close approximation of Greek hexameter verse in natural English rhythms. The result is a Homeric Hymns marked by its accuracy, simplicity, and economy of movement. Sheila Murnaghan's Introduction situates the Hymns within the mythological and performative traditions that gave rise to them. Focusing on the longer Hymns , she perceptively illuminates these oddly charming and sometimes grave accounts of defining episodes in the evolution of the cosmos. Notes and a Glossary of Names are included.

Women and Slaves in Greco-Roman Culture is the first book to critically explore how slaveholding and the subordination of women shaped ancient societies and reveals how women and slaves intersected with one another in both the cultural representations and the social realities of classical antiquity.
This erudite and well-documented book provokes questions about how we can hope to recapture the experience, and subjectivity, of ancient women and slaves, and addresses the ways in which femaleness and servility interacted with other forms of difference, such as class, gender and status. Women and Slaves in Greco-Roman Culture offers stimulating and frequently controversial insight into the complexities of gender and status in the ancient world.

This Norton Critical Edition includes: - Sheila Murnaghan's new translation of the great Greek tragedy of betrayal, revenge, and murder, set in Corinth in the fifth-century B.C.E. - A full introduction and explanatory annotations by Sheila Murnaghan. - Ancient perspectives on the unforgettable plot from Xenophon, Apollonius of Rhodes, and Seneca. - Seminal essays on Medea by P. E. Easterling, Helene P. Foley, and Edith Hall. - A Selected Bibliography. About the Series Read by more than 12 million students over fifty-five years, Norton Critical Editions set the standard for apparatus that is right for undergraduate readers. The three-part format--annotated text, contexts, and criticism--helps students to better understand, analyze, and appreciate the literature, while opening a wide range of teaching possibilities for instructors. Whether in print or in digital format, Norton Critical Editions provide all the resources students need.

In this new translation of the Homeric Hymns , Sarah Ruden employs a melodious and flexible non-rhyming line of eleven syllables, offering a close approximation of Greek hexameter verse in natural English rhythms. The result is a Homeric Hymns marked by its accuracy, simplicity, and economy of movement. Sheila Murnaghan's Introduction situates the Hymns within the mythological and performative traditions that gave rise to them. Focusing on the longer Hymns , she perceptively illuminates these oddly charming and sometimes grave accounts of defining episodes in the evolution of the cosmos. Notes and a Glossary of Names are included.

This generous abridgment of Stanley Lombardo's translation of the Odyssey offers more than half of the epic, including all of its best-known episodes and finest poetry, while providing concise summaries for omitted books and passages. Sheila Murnaghan's Introduction, a shortened version of her essay for the unabridged edition, is ideal for readers new to this remarkable tale of the homecoming of Odysseus.

Lombardo's Odyssey offers the distinctive speed, clarity, and boldness that so distinguished his 1997 Iliad . "[Lombardo] has brought his laconic wit and love of the ribald . . . to his version of the Odyssey . His carefully honed syntax gives the narrative energy and a whirlwind pace. The lines, rhythmic and clipped, have the tautness and force of Odysseus' bow." -Chris Hedges, The New York Times Book Review

Selections from both the Iliad and the Odyssey, made with an eye for those episodes that figure most prominently in the study of mythology.

Selections from both the Iliad and the Odyssey, made with an eye for those episodes that figure most prominently in the study of mythology.

"Gripping. . . . Lombardo's achievement is all the more striking when you consider the difficulties of his task. . . . [He] manages to be respectful of Homer's dire spirit while providing on nearly every page some wonderfully fresh refashioning of his Greek. The result is a vivid and disarmingly hardbitten reworking of a great classic." -Daniel Mendelsohn, The New York Times Book Review

The dissemination of classical material to children has long been a major form of popularization with far-reaching effects, although until very recently it has received almost no attention within the growing field of classical reception studies. This volume explores the ways in which children encountered the world of ancient Greece and Rome in Britain and the United States over a century-long period beginning in the 1850s, as well as adults' literary responses to their own childhood encounters with antiquity. Rather than discussing the role of classics in education, it focuses on books read for enjoyment, and on two genres of children's literature in particular: the myth collection and the historical novel. The tradition of myths retold as children's stories is traced in the work of writers and illustrators from Nathaniel Hawthorne and Charles Kingsley to Roger Lancelyn Green and Ingri and Edgar Parin D'Aulaire, while the discussion of historical fiction focuses particularly on the roles of nationality and gender in the construction of an ancient world for modern children. The book concludes with an investigation of the connections between childhood and antiquity made by writers for adults, including James Joyce, Virginia Woolf, and H.D. Recognition of the fundamental role in children's literature of adults' ideas about what children want or need is balanced throughout by attention to the ways in which child readers have made such works their own. The formative experiences of antiquity discussed throughout help to explain why despite growing uncertainty about the appeal of antiquity to modern children, the classical past remains perennially interesting and inspiring.

The dissemination of classical material to children has long been a major form of popularization with far-reaching effects, although until very recently it has received almost no attention within the growing field of classical reception studies. This volume explores the ways in which children encountered the world of ancient Greece and Rome in Britain and the United States over a century-long period beginning in the 1850s, as well as adults' literary responses to their own childhood encounters with antiquity. Rather than discussing the role of classics in education, it focuses on books read for enjoyment, and on two genres of children's literature in particular: the myth collection and the historical novel. The tradition of myths retold as children's stories is traced in the work of writers and illustrators from Nathaniel Hawthorne and Charles Kingsley to Roger Lancelyn Green and Ingri and Edgar Parin D'Aulaire, while the discussion of historical fiction focuses particularly on the roles of nationality and gender in the construction of an ancient world for modern children. The book concludes with an investigation of the connections between childhood and antiquity made by writers for adults, including James Joyce, Virginia Woolf, and H.D. Recognition of the fundamental role in children's literature of adults' ideas about what children want or need is balanced throughout by attention to the ways in which child readers have made such works their own. The formative experiences of antiquity discussed throughout help to explain why despite growing uncertainty about the appeal of antiquity to modern children, the classical past remains perennially interesting and inspiring.

While preserving the basic narrative of the Iliad, this bare-bones abridgement highlights the epic's high poetic moments and essential mythological content, and will prove especially useful in surveys of world literature, and in Western civilization surveys.

Lombardo's Odyssey offers the distinctive speed, clarity, and boldness that so distinguished his 1997 Iliad . "[Lombardo] has brought his laconic wit and love of the ribald . . . to his version of the Odyssey . His carefully honed syntax gives the narrative energy and a whirlwind pace. The lines, rhythmic and clipped, have the tautness and force of Odysseus' bow." -Chris Hedges, The New York Times Book Review

This generous abridgment of Stanley Lombardo's translation of the Odyssey offers more than half of the epic, including all of its best-known episodes and finest poetry, while providing concise summaries for omitted books and passages. Sheila Murnaghan's Introduction, a shortened version of her essay for the unabridged edition, is ideal for readers new to this remarkable tale of the homecoming of Odysseus.

While preserving the basic narrative of the Iliad, this bare-bones abridgement highlights the epic's high poetic moments and essential mythological content, and will prove especially useful in surveys of world literature, and in Western civilization surveys.

This important collection of essays both contributes to the expanding field of classical reception studies and seeks to extend it. Focusing on nineteenth- and twentieth-century Britain, it looks at a range of different genres (epic, novel, lyric, tragedy, political pamphlet). Within the published texts considered, the usual range of genres dealt with elsewhere is extended by chapters on books for children, and those in which childhood and memories of childhood are informed by antiquity; and also by a multi-genre case study of a highly unusual subject, Spartacus. "Remaking the Classics" also goes beyond books to dramatic performance, and beyond the theatre to radio - a medium of enormous power and influence from the 1920s to the 1960s, whose role in the reception of classics is largely unexplored. The variety of genres and of media considered in the book is balanced both by the focus on Britain in a specific time period, and by an overlap of subject-matter between chapters: the three chapters on twentieth-century drama, for example, range from performance strategies to post-colonial contexts. The book thus combines the consolidation of a field with an attempt to push it in new and exciting directions.