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Does the story of Lucius, a curious and lustful young man who is magically transformed into an ass, have anything to teach us today? Does it have a serious, philosophical and religious meaning, or is it just a form of literary play, full of adventures, magic, sex, violence, and religion? This volume studies the reception of the novel in the last hundred years, showing also the most promising and diverse research perspectives for the future. Apuleius claimed that a philosopher must possess a mirror; perhaps, his novel is a mirror for us to look into.
The Hero on Stage from the Enlightenment to the Early Twenty-First Century
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Hercules Performed explores the reception of the ancient Greek hero Herakles – the Roman Hercules – on the western stage from the sixteenth century to the present day, focusing on live theatre, including tragedy, comedy and musical drama. Each chapter considers a particular work or theme in detail, exploring the interplay between classical models and a wide variety of modern performance contexts. The volume is one of four to be published in the Metaforms series examining the extraordinarily persistent figuring of Herakles-Hercules in western culture, drawing together scholars from a range of disciplines to offer a unique insight into the hero’s perennial appeal.
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The late Byzantine period (thirteenth to fifteenth centuries) was marked by both cultural fecundity and political fragmentation, resulting in an astonishingly multifaceted literary output. This book addresses the poetry of the empire’s final quarter-millennium from a broad perspective, bringing together studies on texts originating in places from Crete to Constantinople and from court to school, treating topics from humanist antiquarianism to pious self-help, and written in styles from the vernacular to Homeric language. It thus offers a reference work to a much-neglected but rich textual material that is as varied as it was potent in the sociocultural contexts of its times.
Contributors are Theodora Antonopoulou, Marina Bazzani, Julián Bértola, Martin Hinterberger, Krystina Kubina, Marc D. Lauxtermann, Florin Leonte, Ugo Mondini, Brendan Osswald, Giulia M. Paoletti, Cosimo Paravano, Daniil Pleshak, Alberto Ravani, and Federica Scognamiglio.
Proceedings of the Eighteenth International Congress of Neo-Latin Studies (Leuven 2022)
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Every third year, the members of the International Association for Neo-Latin Studies (IANLS) assemble for a week-long conference. Over the years, this event has evolved into the largest single conference in the field of Neo-Latin studies. The papers presented at these conferences offer, then, a general overview of the current status of Neo-Latin research; its current trends, popular topics, and methodologies.
In 2022, the members of IANLS gathered for a conference in Leuven where 50 years ago the first of these congresses took place.This volume presents the conference’s papers which were submitted after the event and which have undergone a peer-review process.
The papers deal with a broad range of fields, including literature, history, philology, and religious studies.
This book analyzes the advocacy, conceptualization, and institutionalization of rhetoric from 1770 to 1860. Among the forces promoting advocacy was the need for oratory calling for independence, the belief that using rhetoric was the way to succeed in biblical interpretation and preaching, and the desire for rhetoric as entertainment. Conceptually, leaders followed classical and German rhetoricians in viewing rhetoric as an art of ethical choice. Institutionally, a rhetorician such as Ebenezer Porter called for the development of organizations at all levels, a “sociology of rhetoric.” Orville Dewey highlighted the passion for rhetoric, calling his times “the age of eloquence.”
The book consists of two volumes that examine deployments of mixed emotion in the literary and pictorial arts of early modern Europe. Volume 1 has two parts, the first focusing on portrayals of mixed emotion in theatre, poetry, and prose, the second on forms and functions of mixed emotion in spiritual exercises centering on pictorial images, and on heuristic and/or restorative functions of portraying mixed emotion. Volume 2 takes the form of a monograph on the myth of Hercules and Omphale/Iole, which, following in the wake of Lukas Cranach’s brilliant pictorial inventions of the 1530s, became a popular epitome for the skilful display of mixed emotions, not just in Germany but also Italy and elsewhere.