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Commentaires

Akbar D: The Odyssey Mindset

The Odyssey Mindset

7 Timeless Lessons on Resilience, Self and the Journey of Life

Fragments of the Early Stoics

Testimonies and Fragments

The School of Chrysippus: Zeno of Tarsus and Diogenes of Babylon

Bloomsbury Neo-Latin Series: Early Modern Texts and Anthologies

On June 13, 1753 the Irene set sail from London to New York. One of her passengers was Christian Wedsted, a Moravian missionary headed to his post in Bethlehem, Pennsylvania. While many travelers would chronicle their transatlantic journeys, Wedsted chose to recount his in 200 lines of Latin poetry, imitating the preferred form of the ancient Roman poet Ovid. This poem is one of about 45 Latin poems that Wedsted composed in Germany, England, and Pennsylvania, all of which are presented here together for the first time alongside translations into English. A critical introduction and commentary provide historical, literary, and religious context for Wedsted's poetry, across an oeuvre containing birthday poems, impassioned religious verses, and personal anecdotes about life in colonial Pennsylvania. At around 1200 lines, the poems make up one of the largest extant collections of 18th-century Latin poetry from the Americas. Moravian piety is central to Wedsted's identity, and he exchanges poems with important Moravian personalities, weaving together classical material and Christian material to create an original and unique project in colonial America. Many of the poems are experiments in genre that put ancient models and meters to work in new contexts. Half of the poems were written after his arrival in America, and as such they offer a rare window into life on the colonial frontier.

The Latin Poems of Christian Wedsted

Asserting Autocracy Through Absence

Leading Rome from a Distance, 300 Bce-37 CE

Sammlung Tusculum

Griechisch – deutsch

Brief an Markella, Sentenzen und Auswahl thematisch verwandter Fragmente

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

Imagines - Classical Receptions in the Visual and Performing

Classical Reception as a Creative Process

Playful Classics

sera tela: Studies in Late Antique Literature and Its Reception

Stumbling Texts

The Dynamics of Paratextuality in Late Antique Literature

How One Ancient Language Went Global

Proto

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

Men-at-Arms

Seleucid Armies 312–63 BC

A story of lying miracles, wonder and ways of the imagination.

The One and Only Tree

Corpus Fontium Historiae Byzantinae – Series Berolinensis

Prolegomena, Textus et Indices

Ducae Historia

The Odyssey Mindset

Autres titres sur ce thème