Plutarch: How to Study Poetry (De audiendis poetis)


Book Description

Plutarch's essay 'How to Study Poetry' offers a set of reading practices intended to remove the potential damage that poetry can do to the moral health of young readers. It opens a window on to a world of ancient education and scholarship which can seem rather alien to those brought up in the highly sophisticated world of modern literary theory and criticism. The full Introduction and Commentary, by two of the world's leading scholars in the field, trace the origins and intellectual affiliations of Plutarch's method and fully illustrate the background to each of his examples. As such this book may serve as an introduction to the whole subject of ancient reading practices and literary criticism. The Commentary also pays particular attention to grammar, syntax and style, and sets this essay within the context of Plutarch's thought and writing more generally.







On Prophecy, Dreams and Human Imagination


Book Description

Synesius' essay De insomniis ('On Dreams') inquires into the meaning and importance of dreams for human beings and treats themes - most of all the relationship of humans to higher spheres -, which for religiously- and philosophically-minded people are still important today.




Roman Drama and its Contexts


Book Description

Roman plays have been well studied individually (even including fragmentary or spurious ones more recently). However, they have not always been placed into their ‘context’, though plays (just like items in other literary genres) benefit from being seen in context. This edited collection aims to address this issue: it includes 33 contributions by an international team of scholars, discussing single plays or Roman dramatic genres (including comedy, tragedy and praetexta, from both the Republican and imperial periods) in contexts such as the literary tradition, the relationship to works in other literary genres, the historical and social situation, the intellectual background or the later reception. Overall, they offer a rich panorama of the role of Roman drama or individual plays in Roman society and literary history. The insights gained thereby will be of relevance to everyone interested in Roman drama or literature more generally, comparative literature or drama and theatre studies. This contextual approach has the potential of changing the way in which Roman drama is viewed.




Generic Interfaces in Latin Literature


Book Description

Neither older empiricist positions that genre is an abstract concept, useless for the study of individual works of literature, nor the recent (post) modern reluctance to subject literary production to any kind of classification seem to have stilled the discussion on the various aspects of genre in classical literature. Having moved from more or less essentialist and/or prescriptive positions towards a more dynamic conception of the generic model, research on genre is currently considering "pushing beyond the boundaries", "impurity", "instability", "enrichment" and "genre-bending". The aim of this volume is to raise questions of such generic mobility in Latin literature. The papers explore ways in which works assigned to a particular generic area play host to formal and substantive elements associated with different or even opposing genres; assess literary works which seem to challenge perceived generic norms; highlight, along the literary-historical, the ideological and political backgrounds to "dislocations" of the generic map.




Reception in the Greco-Roman World


Book Description

Harnesses the insights generated by 30 years of reception studies to enhance the study of classical Greek literature.




Greek Drama and the Invention of Rhetoric


Book Description

GREEK DRAMA and the Invention of Rhetoric “An impressively erudite, elegantly crafted argument for reversing what ‘everybody knows’ about the relation of two literary genres that played before mass audiences in the Athenian city state.” Victor Bers, Yale University “Sansone’s book is first-rate and should be read by any scholar interested in the origins of Greek rhetorical theory or, for that matter, interested in Greek tragedy. That Greek tragedy contains elements properly described as rhetorical is familiar, but Sansone goes far beyond this understanding by putting Greek tragedy at the heart of a counter-narrative of those origins.” Edward Schiappa, The University of Minnesota This book challenges the standard view that formal rhetoric arose in response to the political and social environment of ancient Athens. Instead, it is argued, it was the theater of Ancient Greece, first appearing around 500 BC that prompted the development of formalized rhetoric, which evolved soon thereafter. Indeed, ancient Athenian drama was inextricably bound to the city-state’s development as a political entity, as well as to the birth of rhetoric. Ancient Greek dramatists used mythical conflicts as an opportunity for staging debates over issues of contemporary relevance, civic responsibility, war, and the role of the gods. The author shows how the essential feature of dialogue in drama created a ‘counterpoint’—an interplay between the actor making the speech and the character reacting to it on stage. This innovation spurred the development of other more sophisticated forms of argumentation, which ultimately formed the core of formalized rhetoric.




Plato and the Traditions of Ancient Literature


Book Description

Plato is one of the central figures of the Greek literary heritage. This book explores that heritage in antiquity.




Tragic Pleasure from Homer to Plato


Book Description

This book offers a resolution of the paradox posed by the pleasure of tragedy by returning to its earliest articulations in archaic Greek poetry and its subsequent emergence as a philosophical problem in Plato's Republic. Socrates' claim that tragic poetry satisfies our 'hunger for tears' hearkens back to archaic conceptions of both poetry and mourning that suggest a common source of pleasure in the human appetite for heightened forms of emotional distress. By unearthing a psychosomatic model of aesthetic engagement implicit in archaic poetry and philosophically elaborated by Plato, this volume not only sheds new light on the Republic's notorious indictment of poetry, but also identifies rationally and ethically disinterested sources of value in our pursuit of aesthetic states. In doing so the book resolves an intractable paradox in aesthetic theory and human psychology: the appeal of painful emotions.




The Promise of Not-Knowing


Book Description

David E. Fredrickson asks a key question for interpreters of the New Testament in the twenty-first century: Do established ways of reading the New Testament need to be challenged and new ones explored? His answer is "yes," but he takes care not to dismiss readers' experiences in the previous two millennia. He values the readings of the past even as he contests the insights of scholars, preachers, monks, nuns, skeptics, the devout, the disinterested, the keenly interested, and all the rest who have tried to make sense of the earliest Christian writings. Fredrickson does not want to give an impression of "I know better than them." But he goes on to say that "strange as it sounds, not-knowing is actually the point of this book. More than anything else, not-knowing is, I believe, the key to reading the New Testament in the twenty-first century." Fredrickson claims that the reduction of a text to its usefulness is something a deconstructive approach seeks to avoid. That leads to readings in which practicality enjoys a privilege over mystery, knowing wins out over not-knowing, and control triumphs over hope. Ultimately, his goal in this book is to give mystery, hope, andnot-knowing a chance. For Fredrickson the experience of reading is more than coming to know something or receiving information, and the "more" that he has in mind exists in the shock of encountering some other or something that is not easily assimilated to an already known world, a familiar horizon, or the repeatability of language. What if reading the New Testament meant giving an unexpected other a chance to take place and to change the world you thought was an unchangeable given? What if we thought of reading as a way of preparing for what postmodernism calls an event?