The role of athletics in ancient Greece extended well beyond the realms of kinesiology, competition, and entertainment. In teaching and philosophy, athletic practices overlapped with rhetorical ones and formed a shared mode of knowledge production. Bodily Arts examines this intriguing intersection, offering an important context for understanding the attitudes of ancient Greeks toward themselves and their environment. In classical society, rhetoric was an activity, one that was in essence “performed.” Detailing how athletics came to be rhetoric’s “twin art” in the bodily aspects of learning and performance, Bodily Arts draws on diverse orators and philosophers such as Isocrates, Demosthenes, and Plato, as well as medical treatises and a wealth of artifacts from the time, including statues and vases. Debra Hawhee’s insightful study spotlights the notion of a classical gymnasium as the location for a habitual “mingling” of athletic and rhetorical performances, and the use of ancient athletic instruction to create rhetorical training based on rhythm, repetition, and response. Presenting her data against the backdrop of a broad cultural perspective rather than a narrow disciplinary one, Hawhee presents a pioneering interpretation of Greek civilization from the sixth, fifth, and fourth centuries BCE by observing its citizens in action.

The essays in this informative book explore the impact of British classics—the study of Greco-Roman antiquity, with an emphasis on the classical Latin and Greek languages—beyond the borders of England itself, during the nineteenth and twentieth centuries: inside the academy as specialized scholarship and teaching, outside the academy as a mode of social and cultural formation. Not only did British classics permeate England; they brought English values to Scotland, Wales, and America as well. Far into the twentieth century, to learn classics “the Oxbridge way” was to cloak oneself in the mantle of a gentleman—even when the “gentleman” was a woman.

Anyone who has even a passing acquaintance with Latin knows “Gallia est omnis divisa in partes tres” (“All Gaul is divided into three parts”), the opening line of De Bello Gallico, Julius Caesar's famous commentary on his campaigns against the Gauls in the 50s BC. But what did Caesar intend to accomplish by writing and publishing his commentaries, how did he go about it, and what potentially unforeseen consequences did his writing have? These are the questions that Andrew Riggsby pursues in this fresh interpretation of one of the masterworks of Latin prose. Riggsby uses contemporary literary methods to examine the historical impact that the commentaries had on the Roman reading public. In the first part of his study, Riggsby considers how Caesar defined Roman identity and its relationship to non-Roman others. He shows how Caesar opens up a possible vision of the political future in which the distinction between Roman and non-Roman becomes less important because of their joint submission to a Caesar-like leader. In the second part, Riggsby analyzes Caesar's political self-fashioning and the potential effects of his writing and publishing the Gallic War. He reveals how Caesar presents himself as a subtly new kind of Roman general who deserves credit not only for his own virtues, but for those of his soldiers as well. Riggsby uses case studies of key topics (spatial representation, ethnography, virtus and technology, genre, and the just war), augmented by more synthetic discussions that bring in evidence from other Roman and Greek texts, to offer a broad picture of the themes of national identity and Caesar's self-presentation.

The laments of captive women found in extant Athenian tragedy constitute a fundamentally subversive aspect of Greek drama. In performances supported by and intended for the male citizens of Athens, the songs of the captive women at the Dionysia gave a voice to classes who otherwise would have been marginalized and silenced in Athenian society: women, foreigners, and the enslaved. The Captive Woman's Lament in Greek Tragedy addresses the possible meanings ancient audiences might have attached to these songs. Casey Dué challenges long-held assumptions about the opposition between Greeks and barbarians in Greek thought by suggesting that, in viewing the plight of the captive women, Athenian audiences extended pity to those least like themselves. Dué asserts that tragic playwrights often used the lament to create an empathetic link that blurred the line between Greek and barbarian. After a brief overview of the role of lamentation in both modern and classical traditions, Dué focuses on the dramatic portrayal of women captured in the Trojan War, tracing their portrayal through time from the Homeric epics to Euripides' Athenian stage. The author shows how these laments evolved in their significance with the growth of the Athenian Empire. She concludes that while the Athenian polis may have created a merciless empire outside the theater, inside the theater they found themselves confronted by the essential similarities between themselves and those they sought to conquer.

Well before Aristotle’s Rhetoric elucidated the elements of verbal style that give writing its persuasive power, Greek poets and prose authors understood the importance of style in creating compelling characters to engage an audience. And because their works were composed in predominantly oral settings, their sense of style included not only the characters’ manner of speaking, but also their appearance and deportment. From Homeric epic to classical tragedy and oratory, verbal and visual cues work hand-in-hand to create distinctive styles for literary characters. In this book, Nancy Worman investigates the development and evolution of ideas about style in archaic and classical literature through a study of representations of Odysseus and Helen. She demonstrates that, as liars and imitators, pleasing storytellers, and adept users of costume, these two figures are especially skillful manipulators of style. In tracing the way literary representations of them changed through time—from Homer’s positive portrayal of their subtle self-presentations to the sharply polarized portrayals of these same subtleties in classical tragedy and oratory—Worman also uncovers a nascent awareness among the Greek writers that style may be used not only to persuade but also to distract and deceive.

With one of the largest circulations in its field, Classical World is indispensable for research and teaching in the classics. In addition to scholarly and pedagogical articles and professional notices, Classical World also publishes research bibliographies on authors and topics, surveys of teaching resources, and book reviews.

    Catullus’ life was akin to pulp fiction. In Julius Caesar’s Rome, he engages in a stormy affair with a consul’s wife. He writes her passionate poems of love, hate, and jealousy. The consul, a vehement opponent of Caesar, dies under suspicious circumstances. The merry widow romances numerous young men. Catullus is drawn into politics and becomes a cocky critic of Caesar, writing poems that dub Julius a low-life pig and a pervert. Not surprisingly, soon after, no more is heard of Catullus.
    David Mulroy brings to life the witty, poignant, and brutally direct voice of a flesh-and-blood man, a young provincial in the Eternal City, reacting to real people and events in a Rome full of violent conflict among individuals marked by genius and megalomaniacal passions. Mulroy’s lively, rhythmic translations of the poems are enhanced by an introduction and commentary that provide biographical and bibliographical information about Catullus, a history of his times, a discussion of the translations, and definitions and notes that ease the way for anyone who is not a Latin scholar.

In The Crane's Walk, Jeremy Barris seeks to show that we can conceive and live with a pluralism of standpoints with conflicting standards for truth--with the truth of each being entirely unaffected by the truth of the others. He argues that Plato's work expresses this kind of pluralism, and that this pluralism is important in its own right, whether or not we agree about what Plato's standpoint is.The longest tradition of Plato scholarship identifies crucial faults in Plato's theory of Ideas. Barris argues that Plato deliberately displayed those faults, because he wanted to demonstrate that basic kinds of error or illogic have dimensions that are crucial to the establishing of truth. These dimensions legitimate a paradoxical coordination of logically incompatible conceptions of truth. Connecting this idea with emerging currents of Plato scholarship, he emphasizes, in addition to the dialogues' arguments, the importance of their nonargumentative features, including drama, myths, fictions, anecdotes, and humor. These unanalyzed nonargumentative features function rigorously, as a lever with which to examine the enterprise of rational argument itself, without presupposing its standards or illegitimately assimilating any position to the standards of another.Today, communities are torn apart by conflicts within and between a host of different pluralist and absolutist commitments. The possibility developed in this book-a coordination of absolute and relative truth that allows an understanding of some relativist and some absolutist positions as being fully legitimate and as capable of existing in a relation to their opposites-may contribute to perspectives for resolving these conflicts.