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Greek myths were, to some extent, familiar to medieval Armenian authors, mainly through translations of late classical and early Christian writings; they also appear in original works, but this knowledge was never profound or accurate. Both translators and Armenian authors, as well as later scribes, while translating, renarrating and copying short mythical stories, or mentioning or just alluding to them often related the stories and the familiar or unfamiliar names occurring in them correctly, but sometimes they made mistakes, chiefly corrupting names not well-known to them, and sometimes, even details of the plot.
This is the first study which brings together the references to ancient Greek myths (154 episodes) in medieval Armenian literature by including the original Armenian and Greek (if extant) text and translation. With appendices listing the occurrences of Greek gods, their Armenian equivalents, images, altars, temples, and rites, the Aesopian fables and the Trojan war.
This is the first study which brings together the references to ancient Greek myths (154 episodes) in medieval Armenian literature by including the original Armenian and Greek (if extant) text and translation. With appendices listing the occurrences of Greek gods, their Armenian equivalents, images, altars, temples, and rites, the Aesopian fables and the Trojan war.
Greek myths were, to some extent, familiar to medieval Armenian authors, mainly through translations of late classical and early Christian writings; they also appear in original works, but this knowledge was never profound or accurate. Both translators and Armenian authors, as well as later scribes, while translating, renarrating and copying short mythical stories, or mentioning or just alluding to them often related the stories and the familiar or unfamiliar names occurring in them correctly, but sometimes they made mistakes, chiefly corrupting names not well-known to them, and sometimes, even details of the plot.
This is the first study which brings together the references to ancient Greek myths (154 episodes) in medieval Armenian literature by including the original Armenian and Greek (if extant) text and translation. With appendices listing the occurrences of Greek gods, their Armenian equivalents, images, altars, temples, and rites, the Aesopian fables and the Trojan war.
This is the first study which brings together the references to ancient Greek myths (154 episodes) in medieval Armenian literature by including the original Armenian and Greek (if extant) text and translation. With appendices listing the occurrences of Greek gods, their Armenian equivalents, images, altars, temples, and rites, the Aesopian fables and the Trojan war.
Andrea Fulvio’s Illustrium imagines and the Beginnings of Classical Archaeology is a study of the book acknowledged by contemporaries to be the first attempt (1517) to publish artifacts from Classical Antiquity, in the form of a chronology of portraits appearing on coins. The study determines which represented coins correspond to genuine, ancient coins, and the degree of their accuracy in reproducing the legends, and the iconography and style of the originals. The study then addresses the methodology by which Fulvio attempted to exploit coins as historical documents, intersecting with humanist literary and historical studies of ancient Rome, the reception of ancient artifacts, and the response of visual artists to ancient portrait renderings.
Andrea Fulvio’s Illustrium imagines and the Beginnings of Classical Archaeology is a study of the book acknowledged by contemporaries to be the first attempt (1517) to publish artifacts from Classical Antiquity, in the form of a chronology of portraits appearing on coins. The study determines which represented coins correspond to genuine, ancient coins, and the degree of their accuracy in reproducing the legends, and the iconography and style of the originals. The study then addresses the methodology by which Fulvio attempted to exploit coins as historical documents, intersecting with humanist literary and historical studies of ancient Rome, the reception of ancient artifacts, and the response of visual artists to ancient portrait renderings.
In Leonardo’s Fables: Sources, Iconography and Science, Giuditta Cirnigliaro explores the compositional methods and sources of Leonardo’s fables to investigate their relationship with illustrations and scientific studies. Often considered secondary works with respect to his public masterpieces, in this study Leonardo’s fables are revealed to be part of an aesthetic, scientific, and philosophical project intended for the acquisition of world knowledge.
By concentrating on the chaotic character of Leonardo’s manuscripts, the book gradually discloses the artist’s creative thinking that uses the page as a space for experimentation. Ultimately, Leonardo’s employment of fables allows him to tie together his technical and artistic skills, empirical observation, and experience, to show the mechanical interaction of forces at the basis of every physical phenomenon.
By concentrating on the chaotic character of Leonardo’s manuscripts, the book gradually discloses the artist’s creative thinking that uses the page as a space for experimentation. Ultimately, Leonardo’s employment of fables allows him to tie together his technical and artistic skills, empirical observation, and experience, to show the mechanical interaction of forces at the basis of every physical phenomenon.
Sources, Iconography and Science
Series:
Leonardo Studies, Volume: 3
In Leonardo’s Fables: Sources, Iconography and Science, Giuditta Cirnigliaro explores the compositional methods and sources of Leonardo’s fables to investigate their relationship with illustrations and scientific studies. Often considered secondary works with respect to his public masterpieces, in this study Leonardo’s fables are revealed to be part of an aesthetic, scientific, and philosophical project intended for the acquisition of world knowledge.
By concentrating on the chaotic character of Leonardo’s manuscripts, the book gradually discloses the artist’s creative thinking that uses the page as a space for experimentation. Ultimately, Leonardo’s employment of fables allows him to tie together his technical and artistic skills, empirical observation, and experience, to show the mechanical interaction of forces at the basis of every physical phenomenon.
By concentrating on the chaotic character of Leonardo’s manuscripts, the book gradually discloses the artist’s creative thinking that uses the page as a space for experimentation. Ultimately, Leonardo’s employment of fables allows him to tie together his technical and artistic skills, empirical observation, and experience, to show the mechanical interaction of forces at the basis of every physical phenomenon.
Monuments of Mourning, Memory and Meditation
In Tombs in Early Modern Rome (1400-1600), Jan L. de Jong studies how funerary monuments did not simply mark a grave, but offered an image of the deceased that was carefully crafted in order to generate a laudable memory and stimulate meditation on life, death and the hereafter. This leads to such questions as: which image of themselves did cardinals create when they commissioned their own tomb monument? Why were most popes buried in a grandiose tomb monument that they claimed they did not want? Which memory of their mother did children create, and what do tombs for children tell about mothers? Were certain couples buried together so as to demonstrate their eternal love, expecting an afterlife in each other’s company?
Monuments of Mourning, Memory and Meditation
In Tombs in Early Modern Rome (1400-1600), Jan L. de Jong studies how funerary monuments did not simply mark a grave, but offered an image of the deceased that was carefully crafted in order to generate a laudable memory and stimulate meditation on life, death and the hereafter. This leads to such questions as: which image of themselves did cardinals create when they commissioned their own tomb monument? Why were most popes buried in a grandiose tomb monument that they claimed they did not want? Which memory of their mother did children create, and what do tombs for children tell about mothers? Were certain couples buried together so as to demonstrate their eternal love, expecting an afterlife in each other’s company?
Textual, Visual and Musical Receptions of Horace from the 15th to the 18th Century
Series:
Intersections, Volume: 82
This volume explores various perceptions, adaptations and appropriations of both the personality and the writings of Horace in the Early Modern age. The fifteen essays of this book are devoted to uncharted facets of the reception of Horace and thus substantially broaden our picture of the Horatian tradition. Special attention is given to the legacy of Horace in the visual arts and in music, beyond the domain of letters. By focusing on the multiple channels, through which the influence of Horace was felt and transported, this volume aims to present instances of the Horatian heritage across the media and to stimulate a more thorough reflection on an interdisciplinary and multi-medial approach to the exceptionally rich and variegated afterlife of Horace.
Contributors include: Veronica Brandis, Philippe Canguilhem, Giacomo Comiati, Karl A.E. Enenkel, Carolin A. Giere, Inga Mai Groote, Luke B.T. Houghton, Chris Joby, Marc Laureys, Grantley McDonald, Lukas Reddemann, Bernd Roling, Robert Seidel, Marcela Slavíková, Paul J. Smith, and Tijana Žakula.
Contributors include: Veronica Brandis, Philippe Canguilhem, Giacomo Comiati, Karl A.E. Enenkel, Carolin A. Giere, Inga Mai Groote, Luke B.T. Houghton, Chris Joby, Marc Laureys, Grantley McDonald, Lukas Reddemann, Bernd Roling, Robert Seidel, Marcela Slavíková, Paul J. Smith, and Tijana Žakula.
Textual, Visual and Musical Receptions of Horace from the 15th to the 18th Century
Series:
Intersections, Volume: 82
This volume explores various perceptions, adaptations and appropriations of both the personality and the writings of Horace in the Early Modern age. The fifteen essays of this book are devoted to uncharted facets of the reception of Horace and thus substantially broaden our picture of the Horatian tradition. Special attention is given to the legacy of Horace in the visual arts and in music, beyond the domain of letters. By focusing on the multiple channels, through which the influence of Horace was felt and transported, this volume aims to present instances of the Horatian heritage across the media and to stimulate a more thorough reflection on an interdisciplinary and multi-medial approach to the exceptionally rich and variegated afterlife of Horace.
Contributors include: Veronica Brandis, Philippe Canguilhem, Giacomo Comiati, Karl A.E. Enenkel, Carolin A. Giere, Inga Mai Groote, Luke B.T. Houghton, Chris Joby, Marc Laureys, Grantley McDonald, Lukas Reddemann, Bernd Roling, Robert Seidel, Marcela Slavíková, Paul J. Smith, and Tijana Žakula.
Contributors include: Veronica Brandis, Philippe Canguilhem, Giacomo Comiati, Karl A.E. Enenkel, Carolin A. Giere, Inga Mai Groote, Luke B.T. Houghton, Chris Joby, Marc Laureys, Grantley McDonald, Lukas Reddemann, Bernd Roling, Robert Seidel, Marcela Slavíková, Paul J. Smith, and Tijana Žakula.
The fourth book of Virgil’s Aeneid is the shortest of his epic, and yet it has had an inestimable influence. The tragedy of Dido is replete with allusions to the Medeas of Euripides, Apollonius, and Ennius, as well as to Catullus’ Ariadne and the historical Cleopatra of Virgil’s Augustan Age. The book has intratextual connections to the poet’s own fourth Georgic (as he revisits the topic of apian regeneration and the loss of Eurydice), even as it confronts the reality of Rome’s bloody history with Carthage. The present volume offers the first full-scale commentary on the book in over eighty years, together with a new critical text that reflects recent scholarship on significant difficulties.
Text, Translation, Commentary
The fourth book of Virgil’s Aeneid is the shortest of his epic, and yet it has had an inestimable influence. The tragedy of Dido is replete with allusions to the Medeas of Euripides, Apollonius, and Ennius, as well as to Catullus’ Ariadne and the historical Cleopatra of Virgil’s Augustan Age. The book has intratextual connections to the poet’s own fourth Georgic (as he revisits the topic of apian regeneration and the loss of Eurydice), even as it confronts the reality of Rome’s bloody history with Carthage. The present volume offers the first full-scale commentary on the book in over eighty years, together with a new critical text that reflects recent scholarship on significant difficulties.
Ovid in China offers a fresh look at an ancient Roman author in a Chinese context and often from a Chinese perspective. The seventeen essays in this volume, by a group of international scholars, examine Ovid’s interaction with China in a broad historical context, including the arrival of Christian missionaries in 1294, the depiction of Ovidian scenes on 18th-century Chinese porcelain, the growing Chinese interest in Ovid in the early 20th century, a 21st-century collaborative project to translate Ovid’s poetry into Chinese with commentary, and comparative studies on such themes as conceptualization of time, consolation, laughter, filicide, and revenge.
Translation, Reception, and Comparison
Series:
Metaforms, Volume: 22
Ovid in China offers a fresh look at an ancient Roman author in a Chinese context and often from a Chinese perspective. The seventeen essays in this volume, by a group of international scholars, examine Ovid’s interaction with China in a broad historical context, including the arrival of Christian missionaries in 1294, the depiction of Ovidian scenes on 18th-century Chinese porcelain, the growing Chinese interest in Ovid in the early 20th century, a 21st-century collaborative project to translate Ovid’s poetry into Chinese with commentary, and comparative studies on such themes as conceptualization of time, consolation, laughter, filicide, and revenge.
Aristotle for Lay Princes in Medieval Spain
In Alfonso de Cartagena’s 'Memoriale virtutum' (1422) María Morrás and Jeremy Lawrance offer a new edition from the manuscripts of a compilation of Aristotle’s Nicomachean Ethics addressed by the major Castilian intellectual of the day, bishop Alfonso de Cartagena, to the heir to the throne of Portugal, crown prince Duarte.
The work was a speculum principis, an education for the future king in the virtues suitable to a statesman; Cartagena’s choice of Aristotle was thus a significant index of the advent of new Renaissance ideas. This edition shows how the “memorial” throws light on the ideological transformation of society those ideas would bring, setting new ethical guidelines for the ruling class at the crossroads between medieval feudalism and Renaissance absolutism.
The work was a speculum principis, an education for the future king in the virtues suitable to a statesman; Cartagena’s choice of Aristotle was thus a significant index of the advent of new Renaissance ideas. This edition shows how the “memorial” throws light on the ideological transformation of society those ideas would bring, setting new ethical guidelines for the ruling class at the crossroads between medieval feudalism and Renaissance absolutism.