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From Poetic Translation to Elite Transcription
In the past decade, classical scholarship has been polarized by questions concerning the establishment of a literary tradition in Latin in the late third century BCE. On one side of the divide, there are those scholars who insist on the primacy of literature as a hermeneutical category and who, consequently, maintain a focus on poetic texts and their relationship with Hellenistic precedents. On the other side are those who prefer to rely on a pool of Latin terms as pointers to larger sociohistorical dynamics, and who see the emergence of Latin literature as one expression of these dynamics. Through a methodologically innovative exploration of the interlacing of genre and form with practice, Enrica Sciarrinobridges the gap between these two scholarly camps and develops new areas of inquiry by rescuing from the margins of scholarship the earliest remnants of Latin prose associated with Cato the Censor—a “new man” and one of the most influential politicians of his day. By systematically analyzing poetic and prose texts in relation to one another and to diverse authorial subjectivities, Cato the Censor and the Beginnings of Latin Prose: From Poetic Translation to Elite Transcription offers an entirely new perspective on the formation of Latin literature, challenges current assumptions about Roman cultural hierarchies, and sheds light on the social value attributed to different types of writing practices in mid-Republican Rome.
A Study of "El Casamiento Enganoso y el Coloquio de los Perros"
This examination of the last two tales of Cervantes' Novelas ejemplares reveals the Christian Humanist tradition implicit in the most elusive works of the collection. In his study of El casamiento enganoso and El coloquio de los perros Alban Forcione demonstrates that Cervantes retained in their ostensible pessimism the themes of Erasmus' vision of the renovatio of Christianity
Originally published in 1984.
The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These paperback editions preserve the original texts of these important books while presenting them in durable paperback editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.
The literary epic and critical theories about the epic tradition are traced from Aristotle and Callimachus through Apollonius, Virgil, and their successors such as Chaucer and Milton to Eisenstein, Tolstoy, and Thomas Mann. Newman's revisionist critique will challenge all scholars, students, and general readers of the classics, comparative literature, and western literary traditions.
New Views of an Old Subject
Many dogmas regarding Greek theatre were established by researchers who lacked experience in the mounting of theatrical productions. In his wide-ranging and provocative study, Clifford Ashby, a theatre historian trained in the practical processes of play production as well as the methods of historical research, takes advantage of his understanding of technical elements to approach his ancient subject from a new perspective. In doing so he challenges many long-held views.
Archaeological and written sources relating to Greek classical theatre are diverse, scattered, and disconnected. Ashby's own (and memorable) fieldwork led him to more than one hundred theatre sites in Greece, southern Italy, Sicily, and Albania and as far into modern Turkey as Hellenic civilization had penetrated. From this extensive research, he draws a number of novel revisionist conclusions on the nature of classical theatre architecture and production.
The original orchestra shape, for example, was a rectangle or trapezoid rather than a circle. The altar sat along the edge of the orchestra, not at its middle. The scene house was originally designed for a performance event that did not use an up center door. The crane and ekkyklema were simple devices, while the periaktoi probably did not exist before the Renaissance. Greek theatres were not built with attention to Vitruvius' injunction against a southern orientation and were probably sun-sited on the basis of seasonal touring. The Greeks arrived at the theatre around mid-morning, not in the cold light of dawn. Only the three-actor rule emerges from this eclectic examination somewhat intact, but with the division of roles reconsidered upon the basis of the actors' performance needs. Ashby also proposes methods that can be employed in future studies of Greek theatre. Final chapters examine the three-actor production of Ion, how one should not approach theatre history, and a shining example of how one should.
Ashby's lengthy hands-on training and his knowledge of theatre history provide a broad understanding of the ways that theatre has operated through the ages as well as an ability to extrapolate from production techniques of other times and places.
Vol. 99 (2005) through current issue
Classical World publishes substantive scholarship on Greek and Roman literature, history, and society as well as the classical tradition and the history of classical scholarship. The journal also actively engages the pedagogical community by incorporating pieces on the teaching of Greek, Latin, and classical civilizations. Diverse in nature, Classical World publishes special issues, book reviews, surveys of textbooks and audio-visual materials, and bibliographies of recent research on ancient authors and topics. Classical World represents more than 100 years of peer-reviewed scholarship in Antiquity studies. Classical World is the official publication of the Classical Association of the Atlantic States (CAAS).
From Ancient Athens to the American Republic
For two thousand years, democratic authors treated comedy as a toolkit of rhetorical practices for encouraging problem-solving, pluralism, risk-taking, and other civic behaviors that increased minority participation in government. Over the past two centuries, this pragmatic approach to extending the franchise has gradually been displaced by more idealistic democratic philosophies that focus instead on promoting liberal principles and human rights. But in the wake of the recent "democracy recession" in the Middle East, the Third World, and the West itself, there has been renewed interest in finding practical sources of popular rule. Comic Democracies joins in the search by exploring the value of the old comic tools for growing democracy today.
Drawing on new empirical research from the political and cognitive sciences, Angus Fletcher deftly analyzes the narrative elements of two dozen stage plays, novels, romances, histories, and operas written by such authors as Aristophanes, Menander, Plautus, Ariosto, Machiavelli, Cervantes, Shakespeare, Ben Jonson, William Congreve, John Gay, Henry Fielding, and Washington Irving. He unearths five comic techniques that were used to foster democratic behaviors in antiquity and the Renaissance, then traces the role of these techniques in Tom Paine’s Common Sense, Thomas Jefferson’s preamble to the Declaration of Independence, George Washington’s farewell address, Mercy Otis Warren’s federalist history of the Revolution, Frederick Douglass’s abolitionist orations, and other key documents that played a pivotal role in the development of the early American Republic.
After recovering these lost chapters of our democratic past, Comic Democracies concludes with a draft for the future, using the old methods of comedy to envision a modern democracy rooted in the diversity, ingenuity, and power of popular art.
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.
Reading Chaucer from Medieval to Postmodern
Aristophanes, Rhetoric, and Democracy in Fifth-Century Athens
The Court of Comedy: Aristophanes, Rhetoric, and Democracy in Fifth-Century Athens, by Wilfred E. Major, analyzes how writers of comedy in Classical Greece satirized the emerging art of rhetoric and its role in political life. In the fifth century BCE, the development of rhetoric proceeded hand in hand with the growth of democracy both on Sicily and at Athens. In turn, comic playwrights in Athens, most notably Aristophanes, lampooned oratory as part of their commentary on the successes and failures of the young democracy. This innovative study is the first book to survey all the surviving comedy from the fifth century BCE on these important topics. The evidence reveals that Greek comedy provides a revealing commentary on the incipient craft of rhetoric before its formal conventions were stabilized. Furthermore, Aristophanes’ depiction of rhetoric and of Athenian democratic institutions indicates that he fundamentally supports the Athenian democracy and not, as is often argued, oligarchic opposition to it. These conclusions confirm recent work that reinterprets the early development of rhetoric in Classical Greece and offer fresh perspectives on the debate over the role of comedy in early Greek democracy. Throughout, Major capitalizes on recent progress in the understanding of the performance dynamics of Classical Greek theater.
Plato, Pluralism, and the Inconstancy of Truth
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.