Search results for ""Author Charles Segal""

Collected in this volume are fifteen essays, previously published in a wide variety of journals, on the pastoral poetry of Theocritus and Virgil. Originally published in 1981. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.

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In his play Bacchae, Euripides chooses as his central figure the god who crosses the boundaries among god, man, and beast, between reality and imagination, and between art and madness. In so doing, he explores what in tragedy is able to reach beyond the social, ritual, and historical context from which tragedy itself rises. Charles Segal's reading of Euripides' Bacchae builds gradually from concrete details of cult, setting, and imagery to the work's implications for the nature of myth, language, and theater. This volume presents the argument that the Dionysiac poetics of the play characterize a world view and an art form that can admit logical contradictions and hold them in suspension.

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This volume celebrates 100 years of Harvard Studies in Classical Philology. It contains essays by Harvard faculty, emeriti, currently enrolled graduate students, and most recent Ph.D.s. It displays the range and diversity of the study of the Classics at Harvard at the beginning of the twenty-first century.Volume 100 includes: E. Badian, “Darius III”; D. R. Shackleton Bailey, “On Statius’ Thebaid”; Brian W. Breed, “Silenus and the Imago Vocis in Eclogue 6”; Wendell Clausen, “Propertius 2.32.35–36”; Kathleen Coleman, “Missio at Halicarnassus”; Stamatia Dova, “Who Is μακάρτατος in the Odyssey?”; Casey Dué, “Tragic History and Barbarian Speech in Sallust’s Jugurtha”; John Duffy and Dimiter Angelov, “Observations on a Byzantine Manuscript in Harvard College Library”; Mary Ebbott, “The List of the War Dead in Aeschylus’ Persians”; Gloria Ferrari, “The Ilioupersis in Athens”; José González, “Musai Hypophetores: Apollonius of Rhodes on Inspiration and Interpretation”; Albert Henrichs, “Drama and Dromena: Bloodshed, Violence, and Sacrificial Metaphor in Euripides”; Alexander Hollmann, “Epos as Authoritative Speech in Herodotos’ Histories”; Thomas E. Jenkins, “The Writing in (and of) Ovid’s Byblis Episode”; Christopher Jones, “Nero Speaking”; Prudence Jones, “Juvenal, the Niphates, and Trajan’s Column (Satire 6.407–412)”; Leah J. Kronenberg, “The Poet’s Fiction: Virgil’s Praise of the Farmer, Philosopher, and Poet at the End of Georgics 2”; Olga Levaniouk, “Aithôn, Aithon, and Odysseus”; Nino Luraghi, “Author and Audience in Thucydides’ Archaeology. Some Reflections”; Gregory Nagy, “‘Dream of a Shade’: Refractions of Epic Vision in Pindar’s Pythian 8 and Aeschylus’ Seven against Thebes”; Corinne Ondine Pache, “War Games: Odysseus at Troy”; David Petrain, “Hylas and Silva: Etymological Wordplay in Propertius 1.20”; Timothy Power, “The Parthenoi of Bacchylides 13”; Eric Robinson, “Democracy in Syracuse, 466–412 B.C.”; Charles Segal, “The Oracles of Sophocles’ Trachiniae: Convergence or Confusion?”; Zeph Stewart, “Plautus’ Amphitruo: Three Problems”; Sarolta A. Takàcs, “Politics and Religion in the Bacchanalian Affair of 186 B.C.E.”; R. J. Tarrant, “The Soldier in the Garden and Other Intruders in Ovid’s Metamorphoses”; Richard F. Thomas, “A Trope by Any Other Name: ‘Polysemy,’ Ambiguity, and Significatio in Virgil”; Michael A. Tueller, “Well-Read Heroes Quoting the Aetia in Aeneid 8”; and Calvert Watkins, “A Distant Anatolian Echo in Pindar: The Origin of the Aegis Again.”

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Where is the pleasure in tragedy? This question, how suffering and sorrow become the stuff of aesthetic delight, is at the center of Charles Segal's new book, which collects and expands his recent explorations of Euripides' art.Alcestis, Hippolytus, and Hecuba, the three early plays interpreted here, are linked by common themes of violence, death, lamentation and mourning, and by their implicit definitions of male and female roles. Segal shows how these plays draw on ancient traditions of poetic and ritual commemoration, particularly epic song, and at the same time refashion these traditions into new forms. In place of the epic muse of martial glory, Euripides, Segal argues, evokes a muse of sorrows who transforms the suffering of individuals into a "common grief for all the citizens," a community of shared feeling in the theater. Like his predecessors in tragedy, Euripides believes death, more than any other event, exposes the deepest truth of human nature. Segal examines the revealing final moments in Alcestis, Hippolytus, and Hecuba, and discusses the playwright's use of these deaths--especially those of women--to question traditional values and the familiar definitions of male heroism. Focusing on gender, the affective dimension of tragedy, and ritual mourning and commemoration, Segal develops and extends his earlier work on Greek drama. The result deepens our understanding of Euripides' art and of tragedy itself.

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This close reading of Seneca's most influential tragedy explores the question of how poetic language produces the impression of an individual self, a full personality with a conscious and unconscious emotional life. Originally published in 1986. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.

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In a fresh interpretation of Lucretius's On the Nature of Things, Charles Segal reveals this great poetical account of Epicurean philosophy as an important and profound document for the history of Western attitudes toward death. He shows that this poem, aimed at promoting spiritual tranquillity, confronts two anxieties about death not addressed in Epicurus's abstract treatment--the fear of the process of dying and the fear of nothingness. Lucretius, Segal argues, deals more specifically with the body in dying because he draws on the Roman concern with corporeality as well as on the rich traditions of epic and tragic poetry on mortality. Segal explains how Lucretius's sensitivity to the vulnerability of the body's boundaries connects the deaths of individuals with the deaths of worlds, thereby placing human death into the poem's larger context of creative and destructive energies in the universe. The controversial ending of the poem, which describes the plague at Athens, is thus the natural culmination of a theme developed over the course of the work. Originally published in 1990. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.

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Volume 99 of Harvard Studies in Classical Philology includes the following contributions: Nancy Felson, “Vicarious Transport: Fictive Deixis in Pindar’s Pythian Four”; Douglas E. Gerber, “Pindar, Nemean Six: A Commentary”; Jennifer Clarke Kosak, “Therapeutic Touch and Sophokles’ Philoktetes”; F. S. Naiden, “The Prospective Imperfect in Herodotus”; Thomas A. Schmitz, “‘I Hate All Common Things’: The Reader’s Role in Callimachus’ Aetia Prologue”; Dimitrios Yatromanolakis, “Alexandrian Sappho Revisited”; John T. Ramsey, “Mithridates, the Banner of Ch’ih-yu, and the Comet Coin”; Alexander Jones, “Geminus and the Isia”; Benjamin Victor, “Further Remarks on the Andria of Terence”; Peter E. Knox, “Lucretius on the Narrow Road”; Francis Cairns, “Virgil Eclogue 1.1–2: A Literary Programme?”; Michael Hendry, “Epidaurus, Epirus,…Epidamnus? Vergil Georgics 3.44”; Charles Segal, “Ovid’s Meleager and the Greeks: Trials of Gender and Genre”; John Hunt, “Readings in Apollonius of Tyre”; Bernard Frischer et al., “Word-Order Transference between Latin and Greek: The Relative Position of the Accusative Direct Object and the Governing Verb in Cassius Dio and Other Greek and Roman Prose Authors”; and Craig Kallendorf, “Historicizing the ‘Harvard School’: Pessimistic Readings of the Aeneid in Italian Renaissance Scholarship.”

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Combining historical and philological method with contemporary literary analysis, this study of Pindar's longest and most elaborate victory ode, the Fourth Pythian, traces the underlying mythical patterns, implicit poetics, and processes of mythopoesis that animate his poetry Originally published in 1986. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.

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Volume 97 of Harvard Studies in Classical Philology is a special issue, entitled “Greece in Rome,” comprising revised versions of papers presented at a Loeb Classical Conference on the question of the Greek influence on Roman culture, with a particular though not exclusive emphasis on the Augustan period. The papers reflect the complexity of the relationship between the cultures involved—Greek, Roman, and Italic—and span many fields: history, literature, philosophy, linguistics, religion, and the visual arts.Contributors include: G. W. Bowersock, “The Barbarism of the Greeks”; John Scheid, “Graeco Ritu: A Typically Roman Way of Honoring the Gods”; Calvert Watkins, “Greece in Italy outside Rome”; Gisela Striker, “Cicero and Greek Philosophy”; Brad Inwood, “Seneca in His Philosophical Milieu”; Bettina Bergmann, “Greek Masterpieces and Roman Recreative Fictions”; Elaine K. Gazda, “Roman Sculpture and the Ethos of Emulation: Reconsidering Repetition”; Ann Kuttner, “Republican Rome Looks at Pergamon”; Cynthia Damon, “Greek Parasites and Roman Patronage”; Richard F. Thomas, “Vestigia Ruris: Urbane Rusticity in Virgil’s Georgics”; R. J. Tarrant, “Greek and Roman in Seneca’s Tragedies”; Christopher P. Jones, “Graia Pandetur ab Urbe”; Albert Henrichs, “Graecia Capta: Roman Views of Greek Culture”; and Sarolta A. Takács, “Alexandria in Rome.”

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