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This book proposes that Sophoclean tragedy is a distinctive form of religious discourse concerned with exploring the relationship between humans and gods. Building on recent scholarship that has begun to reintegrate literature within the study of Greek religion after decades of neglect, Alexandre Johnston positions Sophocles' seven extant plays within a vibrant tradition of early Greek theology, literature and philosophy that cuts across modern disciplinary boundaries. Blending an overarching thematic approach with detailed analysis of key case studies, he argues that tragedies such as Antigone and Electra were at once poetic works and religious artefacts that engaged profoundly with contemporary intellectual culture. Through their narrative structure and performance, these tragedies allow spectators privileged insights into the workings of an obscure, unstable world dominated by inscrutable gods, offering distinctive, sometimes radical visions of the divine and its impact on the existence of mortals.
What was fiction in the Roman world – and how did ancient readers learn to make sense of it? This book redefines ancient fiction not as a genre but as a sociocultural practice, governed by the institutions of Greco-Roman education. Drawing on modern fiction theory, it uncovers how fables, epic, and rhetorical training cultivated “fiction competence” in readers from childhood through advanced studies. But it also reveals how the ancient novels – including Greek romance, fictional biography, and the fragmentary novels – subverted the very rules of fiction pedagogy they inherited. Through incisive close readings of a wide array of canonical and paraliterary texts, this book reframes the classical curriculum as the engine of literary imagination in antiquity. For classicists, literary theorists, and anyone interested in ancient education, it offers a provocative reassessment of fiction's place in cultural history – and of how readers learned to believe, disbelieve, and decode narrative meaning.
Interest in the relationship between Paul's letter openings and Koine Greek letter-writing conventions has been steady for over a century, but little new data has emerged in recent years. In this study, Gillian Asquith offers a fresh perspective on Paul's epistolary practice by adopting a multidisciplinary method that synthesises sociolinguistics and lexicography. Comparing the language of Paul's letter openings with the register of language in documentary papyri, she demonstrates that high-register language in Koine Greek epistolary formulae contributes to warm and friendly relations between correspondents. Asquith argues that Paul creatively modifies epistolary norms by using unexpected, high-register language in the remembrance motif and litotic disclosure formula. Such usage, she posits, emphatically reassures Paul's recipients of his pastoral concern for them and heightens the persuasive force of his letters. Asquith's nuanced analysis contributes valuable new data to long-running debates around Paul's practice of prayer and the structure of his letters.
Latin poetry is defined by its relationships with poetry in other languages. It was originally constituted by its relation to Greek, and in later times has been constituted by its relation to the European vernaculars. In this bold and innovative book, distinguished Latinist Stephen Hinds explores these relationships through a series of vignettes. These explore ancient conversations between Latin and Greek verse texts, followed by modern (especially early modern) conversations between Latin and European vernacular verse texts, reflecting the linked stories of reception that make up the so-called 'classical tradition': conversations across language, across period, and sometimes both at the same time. The book's range is expansive, ranging from Homer through Virgil and the Augustans to late antiquity, the Renaissance, Romanticism and on to Seamus Heaney. There is an especial focus on the parallel vernacular and Latin output of Milton and Marvell in England and Du Bellay in France.
Pat Easterling's articles are fundamental to her status as one of the most influential Hellenists of her generation. Characterised by unostentatious astuteness and an arresting capacity for observation, they put forward tersely considered arguments that have the weight of much longer discussions. Exacting attention to language and detail combines with clear-sighted openness to new developments within and beyond the discipline to allow the texts to speak in deeply human terms. This collection gathers significant articles from all stages of Easterling's career, many of them major points of reference. Volume 1 is devoted to Greek tragedy, and represents in particular her great affinity for Sophocles. Volume 2 presents work on other Greek literature, acting, transmission, scholia, reception, history of scholarship. Reflecting Easterling's extensive academic ties, several of the articles were originally published in less well-known volumes and are here made more widely available.
The narrative art of Herodotus' Histories has always been greatly admired, but it has never received an in-depth and systematic analysis. This commentary lays bare the role of the narrator and his effective handling of time, focalization, and speech in all the famous and much-loved episodes, from Croesus, via the Ionian Revolt, to the climax of Xerxes' expedition against Greece. In paying close attention to the various ways in which Herodotus structures his story, it offers crucial help to get a grip on the at first sight bewildering structure of this long text. The detailed analysis of Herodotus' narration shows how his masterful adoption and expansion of the epic toolbox endowed the new genre of historiography with the same authority as its illustrious predecessor. The commentary is suitable for all readers of Herodotus' Greek text: students, teachers, and scholars.
Pat Easterling's articles are fundamental to her status as one of the most influential Hellenists of her generation. Characterised by unostentatious astuteness and an arresting capacity for observation, they put forward tersely considered arguments that have the weight of much longer discussions. Exacting attention to language and detail combines with clear-sighted openness to new developments within and beyond the discipline to allow the texts to speak in deeply human terms. This collection gathers significant articles from all stages of Easterling's career, many of them major points of reference. Volume 1 is devoted to Greek tragedy, and represents in particular her great affinity for Sophocles. Volume 2 presents work on other Greek literature, acting, transmission, scholia, reception, history of scholarship. Reflecting Easterling's extensive academic ties, several of the articles were originally published in less well-known volumes and are here made more widely available.
How do we define plagiarism in literature? In this wide-ranging and innovative study, Muhsin J. al-Musawi examines debates surrounding literary authenticity across Arabic and Islamic culture over seven centuries. Al-Musawi argues that intertextual borrowing was driven by personal desire alongside the competitive economy of the Abbasid Islamic Empire. Here, accusations of plagiarism had wide-ranging consequences, as competition among poets and writers grew fierce, while philologists and critics served as public arbiters over controversies of alleged poetic thefts. Taking in an extensive remit of Arabic sources, from Persian writers to the poets of Andalusia and Morocco, al-Musawi extends his argument all the way to Ibrāhīm ᶜAbd al-Qādir al-Māzinī's writing in Egypt and the Iraqi poet Nāzik al-Malā՚ikah's work in the twentieth century to present 'theft' as a necessary condition of creative production in Arabic literature. As a result, this study sheds light on a vast yet understudied aspect of the Arabic literary tradition, while raising important questions surrounding the rising challenge of artificial intelligence in matters of academic integrity.
The Athenians invented democracy – and as they grappled with the implications, they also invented democratic political theory. By reconstruing Protagoras the sophist, Thucydides the historian, and Democritus the cosmologist in the context of political developments and contemporary scientific, literary, and philosophical works, Cynthia Farrar's seminal study reveals the emergence of a distinctive and still cogent understanding of democratic order. All three thinkers wrestled with democracy's insistence on separating political from social identity and status. Unlike Plato and Aristotle, they constructed democratic theories that were genuinely democratic: addressed to citizens, and inviting them to interpret what their own and collective well-being demands in the world as it is. In a new introduction, Farrar makes the case for the continued relevance of the ideas explored in this book by recounting her own attempts to adapt Athenian structures of democratic citizenship and to reinterpret their democratic theory for the modern world.
When they became acquainted with Crete, the Mycenaeans were influenced by the Minoans, not only in artistic matters but also in the whole system of organization of their socio-economic life and most importantly in the field of religion; but a thorough examination shows that the ancestral religion of the Mycenaeans differs from the Minoan one, even if at first sight there are similarities. The Mycenaean religion is polytheistic; the nameless Cretan Great goddess is worshipped but also a number of male gods (though without any iconography), named Zeus, Poseidon or Hermes; syncretism was its central characteristic. In later times, as the Cretan spiritual dominance waned, typically Minoan symbols lost their prime symbolic power to the benefit of Mycenaean conceptions. Official and popular religion, the function of open-air and built sanctuaries, the symbols, rituals and Linear B tablets are subjects constantly debated, and yet the essence of Mycenaean religion, the related ideas and concepts escape us.
IIn the LH I period a social organization appears and a wealthy ruling class emerges. The foundation of the ‘palace’ structure is laid and the ‘ideology of power’ as well. The period is mainly known from tombs, the shaft graves excavated by Heinrich Schliemann in Mycenae being the most celebrated. The finds produced by the two Grave circles of Mycenae, remarkable for their variety and wealth, give plentiful information about the burial customs, the identity of the deceased and the art of the period. Stonework for precious vases, metalwork in gold, electrum or silver show sophisticated techniques – repoussé, inlaying, cloisonné – in the fashioning of cups, rhyta, weapons with decorated hilts. Outstanding are the Silver Siege Rhyton, the daggers with elaborate inlaid blades and the funerary masks, a special offering; also the distantly coming amber used in jewellery. Faience items bear Minoan influence, as do the seals and signet rings, a special category.
The first Linear B tablets were found by Evans in Knossos, many more by Blegen in Pylos in 1939 and progressively in all Mycenaean centres. Crete had three writing types Hieroglyphic, Linear A being more widespread, still undeciphered, and Linear B which descends from Linear A and appeared in mainland Greece around 1400 BC. After many endeavours, it has been deciphered in 1952 revealing a syllabic script for an early stage of Greek language. The debate of concordance between the Knossos and the Pylos tablets followed and is still alive. The inscribed clay tablets, simply dried, were baked by the fires that destroyed the palaces and thus preserved. They are administrative documents mostly inventory or tax statements teaching us a lot about Mycenaean life, palatial system, social hierarchy but no literature or history.