List price
EUR €70.00USD $84.00
Browse results
Brill’s narratological commentaries on ancient texts aims at publishing commentaries to both well-known narrative texts from Greek and Latin literature and texts for which hardly any commentary is available yet, such as the novels or late epics. It also welcomes commentaries on Byzantine narrative texts, medieval texts in Latin, and books from the Hebrew Bible and early Christian texts, including the New Testament.
The commentaries in this series approach the ancient texts with a relatively new but successful and exciting literary method: narratology. In addition to other specialised forms of commentaries such as historical, linguistic and philosophical commentaries, a narratological commentary lays bare the narrative artistry of texts, for instance the way in which a narrator communicates with his narratees, accelerates or slows down the rhythm of narration, represents space, anticipates later developments or inserts flashbacks, focalises events or makes us look at them through the eyes of one of his characters, represents the words spoken by characters, and endows the setting of events with a thematic or symbolic meaning.
The commentaries are written in English, but German manuscripts may be included as well. The theoretical apparatus is derived preferably from standard introductions like I.J.F. de Jong, Narratology and Classics: a practical guide, Monika Fludernik, An Introduction to Narratology, or David Herman, Basic Elements of Narrative.
The commentaries in this series approach the ancient texts with a relatively new but successful and exciting literary method: narratology. In addition to other specialised forms of commentaries such as historical, linguistic and philosophical commentaries, a narratological commentary lays bare the narrative artistry of texts, for instance the way in which a narrator communicates with his narratees, accelerates or slows down the rhythm of narration, represents space, anticipates later developments or inserts flashbacks, focalises events or makes us look at them through the eyes of one of his characters, represents the words spoken by characters, and endows the setting of events with a thematic or symbolic meaning.
The commentaries are written in English, but German manuscripts may be included as well. The theoretical apparatus is derived preferably from standard introductions like I.J.F. de Jong, Narratology and Classics: a practical guide, Monika Fludernik, An Introduction to Narratology, or David Herman, Basic Elements of Narrative.
The first early modern women Latinists lived in mid-fourteenth century Italy, and were educated as diplomats. By the fifteenth century, other upper-class women were educated in order to perform as prodigies on behalf of their city. Both strands of education for women spread to other European countries in the course of the sixteenth century: the principal women humanists were either princesses or courtiers. In the seventeenth century Latin lost its importance as a language of diplomacy and was no longer needed at court, but there was still a place for the ‘woman prodigy’, and a variety of women performed in this way. However, the productions of seventeenth and eighteenth-century women Latinists are more extensive and more varied than those of their predecessors, and include scientific writing and ambitious translations. By the mid-nineteenth century the integration of studious women into the wider academy was well under way.
The first early modern women Latinists lived in mid-fourteenth century Italy, and were educated as diplomats. By the fifteenth century, other upper-class women were educated in order to perform as prodigies on behalf of their city. Both strands of education for women spread to other European countries in the course of the sixteenth century: the principal women humanists were either princesses or courtiers. In the seventeenth century Latin lost its importance as a language of diplomacy and was no longer needed at court, but there was still a place for the ‘woman prodigy’, and a variety of women performed in this way. However, the productions of seventeenth and eighteenth-century women Latinists are more extensive and more varied than those of their predecessors, and include scientific writing and ambitious translations. By the mid-nineteenth century the integration of studious women into the wider academy was well under way.
How do you insert yourself into an artistic canon? How do you establish yourself as a worthy successor to your predecessors while making your own mark on a genre? How do you police a genre’s boundaries to keep out the unwanted? With particular attention to authorial and national identity, artistic self-definition, and literary reception, this volume shows how four ancient Latin poets—Lucilius, Horace, Persius, and Juvenal—asked and answered these questions between the second century BCE and the second century CE as they invented and reinvented the genre of Roman verse Satire.
How do you insert yourself into an artistic canon? How do you establish yourself as a worthy successor to your predecessors while making your own mark on a genre? How do you police a genre’s boundaries to keep out the unwanted? With particular attention to authorial and national identity, artistic self-definition, and literary reception, this volume shows how four ancient Latin poets—Lucilius, Horace, Persius, and Juvenal—asked and answered these questions between the second century BCE and the second century CE as they invented and reinvented the genre of Roman verse Satire.
Editor:
Douwe (David) Runia
Brill's Annotated Bibliographies is a series offering a new set of bibliographical tools in the Classics. We welcome proposals for volumes in this series. The bibliographies would be up to 500 pp. in length and in English. Each volume should provide an exhaustive survey of the authoritative text editions, commentaries, translations, concordances, surveys and electronics tools, important or influential items of the secondary literature (indicating their position and impact in current debate). They should fill a need for scholars active in other (not necessarily adjacent) fields who require a quick and reliable access to the literature of the theme of the bibliography and would be of use to university teachers in preparing customised bibliographies for their students. Ideally, the bibliographies should also call attention to important Italian, German or French works, which are often overlooked by English-speaking students and even scholars.
The contents of most bibliographies will be as follows:
- a general introduction, outlining where possible the development of scholarship on the theme
- the bare facts: title, author, year of publication, type of work (article, book, etc.), size, publisher
- some description of the contents of the work
- an evaluation (in a minority of cases)
- a subject index (cf. Brisson's Plato bibliography in Lustrum)
The contents of most bibliographies will be as follows:
- a general introduction, outlining where possible the development of scholarship on the theme
- the bare facts: title, author, year of publication, type of work (article, book, etc.), size, publisher
- some description of the contents of the work
- an evaluation (in a minority of cases)
- a subject index (cf. Brisson's Plato bibliography in Lustrum)
Geschichte von Städten und Völkern (A)
Zeitgeschichte
Recovering the Oral Traditional Relationship
How can the ancient relationship between Homer and the Epic Cycle be recovered? Using findings from the most significant research in the field, Andrew Porter questions many ancient and modern assumptions and offers alternative perspectives better aligned with ancient epic performance realities and modern epic studies. Porter’s volume addresses a number of related issues: the misrepresentation of Cyclic (and Homeric) epic by Aristotle and his inheritors; the role of the epic singer, patron/collector, and scribe/poet in the formation of memorialized songs; the relevance of shared patterns and devices and of other traditional connections between ancient epics; and the distinct fates of Homeric and Cyclic epic. Homer and the Epic Cycle: Recovering the Oral Traditional Relationship provides new answers to an age-old problem.
Recovering the Oral Traditional Relationship
How can the ancient relationship between Homer and the Epic Cycle be recovered? Using findings from the most significant research in the field, Andrew Porter questions many ancient and modern assumptions and offers alternative perspectives better aligned with ancient epic performance realities and modern epic studies. Porter’s volume addresses a number of related issues: the misrepresentation of Cyclic (and Homeric) epic by Aristotle and his inheritors; the role of the epic singer, patron/collector, and scribe/poet in the formation of memorialized songs; the relevance of shared patterns and devices and of other traditional connections between ancient epics; and the distinct fates of Homeric and Cyclic epic. Homer and the Epic Cycle: Recovering the Oral Traditional Relationship provides new answers to an age-old problem.