These questions and others are addressed in this volume, which explores all the important aspects of patronage—a topic crucial to the study of literature and art from Homer to the present day. The subject is approached from various vantage points: literary, artistic, historical. The essayists reach conclusions that dispel the many misconceptions about Roman patronage derived from seventeenth- and eighteenth-century models in England and Europe.
An understanding of the workings of patronage is indispensable in helping us see how the Roman cultural establishment functioned in the four centuries of its flourishing and also in helping us read and enjoy specific poems and works of art. A book for all concerned with classical literature, art, and social history, Literary and Artistic Patronage in Ancient Rome not only deepens our understanding of the ancient world but also suggests important avenues for future exploration.
Traditional studies of Latin literature end around the beginning of the fifth century C.E. despite the fact that Latin continued to be the dominant literary and intellectual language until at least the latter half of the sixteenth century. Thus most classicists ignore over one thousand years of the Latin literary tradition. Few non-classicists read Latin comfortably and fewer still have a detailed understanding of the history of classical Latin literature. Nevertheless, a knowledge of this history was assumed by most Neo-Latin writers as well as their contemporaries who wrote in the vernacular. This collection supplies tools to examine more completely the construction and application of gender in both Latin and vernacular texts of the Middle Ages and the Renaissance.
Comprising nineteen essays collectively honoring the feminist Classical scholar Judith Hallett, this book will interest the Classical scholar, the ancient historian, the student of Reception Studies, and feminists interested in all periods. The authors from the United States, Britain, France and Switzerland are authorities in one or more of these fields and chapters range from the late Republic to the late Empire to the present.
Edith Hamilton's mythology succeeds like no other book in bringing to life for the modern reader the Greek, Roman and Norse myths that are the keystone of Western culture-the stories of gods and heroes that have inspired human creativity from antiquity to the present.
We follow the drama of the Trojan War and the wanderings of Odysseus. We hear the tales of Jason and the Golden Fleece, Cupid and Psyche, and mighty King Midas. We discover the origins of the names of the constellations. And we recognize reference points for countless works for art, literature and culture inquiry-from Freud's Oedipus complex to Wagner's Ring Cycle of operas to Eugene O'Neill's Mourning Becomes Electra
Both a reference text for scholars of all ages and a book to simply enjoy, Mythology is a classic not to be missed.
In CliffsNotes on Mythology, you'll review the myths from seven different cultures and gain an overview of the stories that people have lived by from ancient times to the present. The gods and their stories depict life's lessons and personal relationships and present a moral code of human conduct. These stories are also a map to understanding history.
This CliffsNotes guide covers Egyptian, Babylonian, Indian, Greek, Roman, and Norse mythologies, as well as the Arthurian legends. Features that help you figure out these important works includeAn introduction to mythologyThe main gods of various culturesReview questionsRecommended readingsGenealogical tables of major gods
Classic literature or modern-day treasure — you'll understand it all with expert information and insight from CliffsNotes study guides.
Plato's account of Socrates' trial and death (399 BC) is a significant moment in Classical literature and the life of Classical Athens. In these four dialogues, Plato develops the Socratic belief in responsibility for one's self and shows Socrates living and dying under his philosophy. In Euthyphro, Socrates debates goodness outside the courthouse; Apology sees him in court, rebutting all charges of impiety; in Crito, he refuses an entreaty to escape from prison; and in Phaedo, Socrates faces his impending death with calmness and skilful discussion of immortality.
Christopher Rowe's introduction to his powerful new translation examines the book's themes of identity and confrontation, and explores how its content is less historical fact than a promotion of Plato's Socratic philosophy.
In Stephen Mitchell’s Iliad, the epic story resounds again across 2,700 years, as if the lifeblood of its heroes Achilles and Patroclus, Hector and Priam flows in every word. And we are there with them, amid the horror and ecstasy of war, carried along by a poetry that lifts even the most devastating human events into the realm of the beautiful.
Mitchell’s Iliad is the first translation based on the work of the preeminent Homeric scholar Martin L. West, whose edition of the original Greek identifies many passages that were added after the Iliad was first written down, to the detriment of the music and the story. Omitting these hundreds of interpolated lines restores a dramatically sharper, leaner text. In addition, Mitchell’s illuminating introduction opens the epic still further to our understanding and appreciation.
Now, thanks to Stephen Mitchell’s scholarship and the power of his language, the Iliad’s ancient story comes to moving, vivid new life.
The three plays of the Oresteia portray the bloody events that follow the victorious return of King Agamemnon from the Trojan War, at the start of which he had sacrificed his daughter Iphigeneia to secure divine favor. After Iphi-geneia’s mother, Clytemnestra, kills her husband in revenge, she in turn is murdered by their son Orestes with his sister Electra’s encouragement. Orestes is pursued by the Furies and put on trial, his fate decided by the goddess Athena. Far more than the story of murder and ven-geance in the royal house of Atreus, the Oresteia serves as a dramatic parable of the evolution of justice and civilization that is still powerful after 2,500 years.
The trilogy is presented here in George Thomson’s classic translation, renowned for its fidelity to the rhythms and richness of the original Greek.
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In CliffsNotes on The Odyssey, you follow along on Homer's grand adventure. This epic poem unfurls the story of Odysseus' triumph over Troy and arduous journey home to reclaim his kingdom. At 2,500 years old, it is one of the finest books ever written; as poetry, it sets the standard for comparison; and it serves as one of the foundations of the Western world's cultural heritage.
This study guide carries you along on Odysseus' journey by providing summaries and critical analyses of each book. You'll also explore the life and background of the epic, Homer, and gain insight into the Homeric Question. Other features that help you study includeCharacter analyses of major playersA character map that graphically illustrates the relationships among the charactersCritical essays on the literary devices and major symbols of The OdysseyA review section that tests your knowledgeA Resource Center full of books, articles, films, and Internet sites
Classic literature or modern-day treasure—you'll understand it all with expert information and insight from CliffsNotes study guides.
Introducing his celebrated translations of these two poems and of the Shield, a very ancient poem of disputed authorship, Apostolos Athanassakis positions Hesiod simultaneously as a philosopher-poet, a bard with deep roots in the culture of his native Boeotia, and the heir to a long tradition of Hellenic poetry. For this eagerly anticipated revised edition, Athanassakis has provided an expanded introduction on Hesiod and his work, subtly amended his faithful translations, significantly augmented the notes and index, and updated the bibliography. Already a classic, Hesiod: Theogony, Works and Days, Shield is now more valuable than ever for students of Greek mythology and literature.-- Peter L. Smith
• Full exposure to the grammar and morphology that students will encounter in actual texts
• Self-contained instructional chapters, with challenging, carefully tailored exercises
• Progressively more complex chapters to build the student's knowledge of declensions, tenses, and constructions by alternating emphasis on morphology and syntax
• Readings based on actual texts and include unadapted passages from Xenophon, Lysias, Plato, Aristophanes, and Thucydides.
• Concise introduction to the history of the Greek language
• Composite list of verbs with principal parts, and an appendix of all paradigms
• Greek-English and English-Greek glossaries
•Robust online supplements for teaching and learning available at atticgreek.org
•Answer Key to exercises also available from UC Press (978-0-520-27574-4)
Farce has always been relegated to the lowest rung of the ladder of dramatic genres. Distinctions between farce and more literary comic forms remain clouded, even in the light of contemporary efforts to rehabilitate this type of comedy. Is farce really nothing more than slapstick-the "putting out of candles, kicking down of tables, falling over joynt-stools," as Thomas Shadwell characterized it in the seventeenth century? Or was his contemporary, Nahum Tate correct when he declared triumphantly that "there are no rules to be prescribed for that sort of wit, no patterns to copy; and 'tis altogether the creature of imagination"? Davis shows farce to be an essential component in both the comedic and tragic traditions. "Farce" sets out to explore the territory of what makes farce distinct as a comic genre. Its lowly origins date back to the classic Graeco-Roman theatre; but when formal drama was reborn by the process of elaboration of ritual within the mediaeval Church, the French term "farce" became synonymous with a recognizable style of comic performance. Taking a wide range of farces from the briefest and most basic of fair-ground mountebank performances to fully-fledged five-act structures from the late nineteenth century, the book reveals the patterns of comic plot and counter-plot that are common to all. The result is a novel classification of farce-plots, which serves to clarify the differences between farce and more literary comic forms and to show how quickly farce can shade into other styles of humor. The key is a careful balance between a revolt against order and propriety, and a kind of "Realpolitik" which ultimately restores the social conventions under attack. A complex array of devices in such things as framing, plot, characterization, timing and acting style maintain the delicate balance. Contemporary examples from the London stage bring the discussion up-to-date and reveal farce as a complex and potent comic form, with its own history, rules and traditions. "Farce" sheds light on the genre, its history, and usage in terms of dramatic critics. Davis examines the recurring themes in farcical comedies including rebellion, revenge, and coincidence. This classic work, updated with a new introduction and 50% new material, has been a staple of literary and humor studies libraries for years. It is part of the Transaction Series in Humor edited by Arthur Asa Berger. Jessica Milner Davis co-ordinates the Australasian Humour Scholars Network from the University of New South Wales in Sydney as a Visiting Fellow in its Faculty of Arts and Social Sciences. Since her first book she has published a wide variety of papers on comedy and humor, edited two specialist volumes of "The Australian Journal of Comedy" (in 1997 and 2001) and serves on the boards of two international humor research journals and book-series.
The hymns presented in this book were anonymously composed somewhere in Asia Minor, most likely in the middle of the third century AD. At this turbulent time, the Hellenic past was fighting for its survival, while the new Christian faith was spreading everywhere. The Orphic Hymns thus reflect a pious spirituality in the form of traditional literary conventions. The hymns themselves are devoted to specific divinities as well as to cosmic elements. Prefaced with offerings, strings of epithets invoke the various attributes of the divinity and prayers ask for peace and health to the initiate. Coauthors Apostolos N. Athanassakis and Benjamin M. Wolkow have produced an accurate and elegant translation accompanied by rich commentary.
Recent translations of the plays, while linguistically correct, often fail to capture the beauty of Sophocles’ original words. In combining the skills of a distinguished poet, Ruth Fainlight, and an eminent classical scholar, Robert J. Littman, this new edition of the Theban Plays is both a major work of poetry and a faithful translation of the original works.
Thoughtful introductions, extensive notes, and glossaries frame each of the plays within their historical contexts and illuminate important themes, mythological roots, and previous interpretations.
This elegant and uncommonly readable translation will make these seminal Greek tragedies accessible to a new generation of readers.
Thug Notes has been featured on BET, PBS, and NPR and has been used in hundreds of classrooms around the world. Whether you’re a student, teacher, or straight-up literary gangster like Dr. Sweets, Thug Notes has got you covered. You'll certainly never look at literature the same way again.
Don't curse Zeus yet!
The Complete Idiot's Guide to Classical Mythology has all you need for a working knowledge of the timeless world of Greek and Roman myths.
Here, Lowell Edmunds brings together practitioners of eight of the most important contemporary approaches to the subject. Whether exploring myth from a historical, comparative, or theoretical perspective, each contributor lucidly describes a particular approach, applies it to one or more myths, and reflects on what the approach yields that others do not. Edmunds's new general and chapter-level introductions recontextualize these essays and also touch on recent developments in scholarship in the interpretation of Greek myth.
Contributors are Jordi Pàmias, on the reception of Greek myth through history; H. S. Versnel, on the intersections of myth and ritual; Carolina López-Ruiz, on the near Eastern contexts; Joseph Falaky Nagy, on Indo-European structure in Greek myth; William Hansen, on myth and folklore; Claude Calame, on the application of semiotic theory of narrative; Christiane Sourvinou-Inwood, on reading visual sources such as vase paintings; and Robert A. Segal, on psychoanalytic interpretations.
Written with the authority of a scholar and the vigor of a bestselling narrative historian, The War That Killed Achilles is a superb and utterly timely presentation of one of the timeless stories of Western civilization. As she did in The Endurance and The Bounty, New York Times bestselling author Caroline Alexander has taken apart a narrative we think we know and put it back together in a way that lets us see its true power. In the process, she reveals the intended theme of Homer's masterwork-the tragic lessons of war and its enduring devastation.
In this compelling study, Vered Lev Kenaan offers a radical revision of the Greek myth of the first woman. She argues that Pandora leaves a decisive mark on ancient poetics and shows that we can unravel the profound impact of Pandora’s image once we recognize that Pandora embodies the very idea of the ancient literary text. Locating the myth of the first woman right at the heart of feminist interrogation of gender and textuality, Pandora’s Senses moves beyond a feminist critique of masculine hegemony by challenging the reading of Pandora as a one-dimensional embodiment of the misogynist vision of the feminine. Uncovering Pandora as a textual principle operating outside of the feminine, Lev Kenaan shows the centrality of this iconic figure among the poetics of such central genres as the cosmological and didactic epic, the Platonic dialogue, the love elegy, and the ancient novel. Pandora’s Senses innovates our understanding of gender as a critical lens through which to view ancient literature.
From the Trade Paperback edition.
Mythical Monsters is original in considering monsters squarely from a literary standpoint, introducing elements of literary analysis gradually as the work progresses, and building up to quite a sophisticated approach. This will increase readers' critical appreciation and plain enjoyment of these stories, which continue to fascinate today. To facilitate browsing, each chapter can be read independently. There is a useful bibliography, and the book is enlivened by illustrations from ancient and more recent art.
New York Times Book Review Notable Book Selection for 2000: "[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
Philip Vellacott’s evocative translation is accompanied by an introduction, with individual discussions of the plays, and their sources in history and mythology.