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Santorelli B: Giovenale, "Satira" V

Giovenale, "Satira" V

Introduzione, Traduzione e Commento

Einleitung, Text und Kommentar

Silius Italicus, ›Punica‹ 15/16

Sammlung Tusculum

Die Apocolcyntosis, überliefert unter dem Namen Senecas des Jüngeren, ist ein zwar kurzer, dafür aber umso boshafterer Text über die Vergöttlichung des Kaisers Claudius, dessen Eigenheiten und Schwächen hier bis ins Absurdeste karikiert werden. In der Tradition der Menippeischen Satire wechseln sich Prosa- und Verspartien ab, das Register reicht vom sublimen Epos bis zum Vulgärsten. Da den Rezipienten nicht nur intime Kenntnis der ganzen, immer wieder in Anspielungen aufgerufenen lateinischen Literatur, sondern auch der höchsten Gesellschaftskreise Roms zur Mitte des ersten nachchristlichen Jahrhunderts abverlangt werden, ist der vorliegenden Übersetzung ein Kommentar beigegeben, um für das Verständnis des mitunter schlecht überlieferten Textes ein erstes Hilfsmittel zu bieten. Enthalten ist außerdem ein Essay von Niklas Holzberg, in dem die delikate Frage der Autorschaft thematisiert wird.

Lateinisch - deutsch

Apocolocyntosis

sera tela: Studies in Late Antique Literature and Its Reception

Stumbling Texts

The Dynamics of Paratextuality in Late Antique Literature

How are comics and Latin elegy related? Comics tell their stories by placing individual images in a sequence, and Latin elegy builds narrative through sequence, encouraging readers to connect poems in order to reveal narrativity. Despite this, there has yet to be a definitive methodology that inspires readers to examine the function of this narrative tool. Examining Ovid's Amores, Swain argues a comics-based methodology can offer us important new insights into the ancient genre of Latin elegy. This book applies theories such as the gutter (the space that exists between two comics panels), Groensteen's braiding (the interaction of panels outside of a linear sequence), and the comics page-turn, all to release new readings that reveal the narrative found across the three books of this text. By analysing the way that Ovid creates a complex narrative mosaic in which key characters and motifs repeat across poems, this book explores how story segments are connected into a larger unified narrative.

Comics Theory, Elegy, and Segmentary Narrative

Narrative in Ovid's Amores

Foreign Nativeness and Identity in the Roman Empire

Politics of Language

This volume presents a newly edited text of Euripides' Electra with a scene-by-scene and line-by-line commentary that addresses a wide variety of questions, including the nature of Euripidean tragedy. In his Introduction and across several discussions in the commentary, David Kovacs presents an alternative to the current scholarly consensus on Euripides. Scholars following this consensus tell us that Euripides' play is a cynical take on the old story of Orestes' and Electra's revenge on Aegisthus and Clytaemestra. Both of the principal figures, we are told, are morally diminished, Electra inter alia by her excessive hatred of Clytaemestra and Orestes by his cynical reliance on Aegisthus' hospitable nature to get himself invited to the sacrifice at which he will kill his host. It is also alleged that this play virtually excludes the gods, who are part and parcel of the tragic genre. Kovacs shows that these and similar unfavourable judgements fail to take note of the practice of the other tragedians and also overlook evidence from Euripides' text, such as the frequent mention of the gods, that locate the play squarely within the tragic genre. What emerges is a play that is well constructed and thematically integrated; a play whose novelties--and an Athenian audience would not have wanted a play on an oft-treated myth to lack novelty--are all new ways of producing tragic effects found also in Aeschylus and Sophocles; a play that gives greater scope to the tragic view of the universe than even the corresponding plays of Aeschylus and Sophocles, thereby confirming Aristotle's judgement that Euripides is 'the most tragic of the poets'; in short, a play that can be called a tragedy without qualification. The gap between Euripides' original manuscript and the earliest complete copy we possess is nearly two millennia. This volume makes a considerable number of suggestions for improving a Greek text that has been badly corrupted over this period of manual copying.

Edited with Introduction and Commentary

Euripides: Electra

How One Ancient Language Went Global

Proto

Roman | Beißend komische Satire | »Durchdringend und messerscharf.« Haruki Murakami | In den Top 5 der Krimibestenliste von Deutschlandfunk Kultur

America Fantastica

Corpus Fontium Historiae Byzantinae – Series Berolinensis

Prolegomena, Textus et Indices

Ducae Historia

A Study of Aeschylus’ Oresteia

The Path from Aulis

Women in Antiquity

Life, Love, and Literature in Ancient Rome

Sulpicia

A New History of the Ancient Past

The Far Edges of the Known World

The ancient Roman empire was the supreme arena, and to rule as a Caesar was to stand as an actor upon the great stage of the world. No biographies invite us into the lives of the Caesars more vividly or intimately than those by Gaius Suetonius Tranquillus, written from the centre of Rome and power, in the early 2nd century AD. That Rome lives more vividly in people's imagination than any other ancient empire owes an inordinate amount to Suetonius. Now award-winning author and translator Tom Holland brings us even closer in a new, spellbinding translation. Giving a deeper understanding of the personal lives of Rome's first emperors, and of how they swayed the fates of millions, The Lives of the Caesars is an astonishing, immersive experience of a time and culture at once familiar and utterly alien to our own.

The Lives of the Caesars

Giovenale, "Satira" V

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