Search results for ""harvard university, center for hellenic studies""

The roster of Muslim superheroes in the comic book medium has grown over the years, as has the complexity of their depictions. Muslim Superheroes tracks the initial absence, reluctant inclusion, tokenistic employment, and then nuanced scripting of Islamic protagonists in the American superhero comic book market and beyond.This scholarly anthology investigates the ways in which Muslim superhero characters fulfill, counter, or complicate Western stereotypes and navigate popular audience expectations globally, under the looming threat of Islamophobia. The contributors consider assumptions buried in the very notion of a character who is both a superhero and a Muslim with an interdisciplinary and international focus characteristic of both Islamic studies and comics studies scholarship. Muslim Superheroes investigates both intranational American racial formation and international American geopolitics, juxtaposed with social developments outside U.S. borders.Providing unprecedented depth to the study of Muslim superheroes, this collection analyzes, through a series of close readings and comparative studies, how Muslim and non-Muslim comics creators and critics have produced, reproduced, and represented different conceptions of Islam and Muslimness embodied in the genre characters.

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How does performing affect those who perform? Starting from observation of the intergenerational tradition of performing the Song of Moses (Deuteronomy 32.1–43), Keith Stone explores ways in which the Song contributes to Deuteronomy’s educational program through the dynamics of reenactment that operate in traditions of performance.Performers of the Song are transformed as they reenact not only characters within the Song but also those who came before them in the history of the Song’s performance—particularly YHWH and Moses, whom Deuteronomy depicts as that tradition’s founders. In support of this thesis, Stone provides a close reading of the text of the Song as preserved in Deuteronomy and as informed by the account of its origins and subsequent history. He examines how the persona of the performer interacts with these reenacted personas in the moment of performance. He also argues that the various composers of Deuteronomy themselves participated in the tradition of performing the Song, citing examples throughout the book in which certain elements originally found in the Song have been adopted, elaborated, acted out, or simply mimicked.

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The Derveni Papyrus is the oldest known European "book." It was meant to accompany the cremated body in Derveni Tomb A but, by a stroke of luck, did not burn completely. Considered the most important discovery for Greek philology in the twentieth century, the papyrus was found accidentally in 1962 during a public works project in an uninhabited place about 10 km from Thessaloniki, and it is now preserved in the Archaeological Museum of Thessaloniki.The papers in Poetry as Initiation discuss a number of open questions: Who was the author of the papyrus? What is the date of the text? What is the significance of burying a book with a corpse? What was the context of the peculiar chthonic ritual described in the text? Who were its performers? What is the relationship of the author and the ritual to the so-called Orphic texts?

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Christians talked, debated, and wrote dialogues in late antiquity and on throughout Byzantium. Some were philosophical, others more literary, theological, or Platonic; Aristotle also came into the picture as time went on. Sometimes the written works claim to be records of actual public debates, and we know that many such debates did take place and continued to do so. Dialoguing in Late Antiquity takes up a challenge laid down by recent scholars who argue that a wall of silence came down in the fifth century AD, after which Christians did not “dialogue.”Averil Cameron now returns to questions raised in her book Christianity and the Rhetoric of Empire (1991), drawing on the large repertoire of surviving Christian dialogue texts from late antiquity to make a forceful case for their centrality in Greek literature from the second century and the Second Sophistic onward. At the same time, Dialoguing in Late Antiquity points forward to the long and neglected history of dialogue in Byzantium. Throughout this study, Cameron engages with current literary approaches and is a powerful advocate for the greater integration of Christian texts by literary scholars and historians alike.

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In antiquity, the story of the failed assault of the Seven against Thebes ranked second only to the Trojan War. But whereas the latter was immortalized by Homer’s Iliad, the account of the former in the epic Thebais survives only in fragments preserved in later authors. The same is true of the Oedipodeia and Epigoni, which dealt respectively with events leading up to the Seven’s campaign and with the successful assault on the city in the next generation. The Thebais was probably the most important of the three—certainly more and longer fragments of it have survived—and it has been alleged that its recovery would tell us more about Homer than any comparable discovery.Paradoxically, these fragments suggest very un-Homeric content and style (in particular its detail of the hero Tydeus forfeiting immortality by gnawing on the head of a dying enemy). The same is true of the epic Alcmaeonis, named after one of the Epigoni, whose few surviving fragments pullulate with un-Homeric features. Malcolm Davies provides the first full commentary on all four epics’ fragments. He attempts to set them in context and examines whether artistic depictions of the relevant myths can help reconstruct the lost epics’ contents.

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Ancient scholarship had many faces, but most have faded away over time. Demetrios of Scepsis is one of the more shadowy of these lost figures, best known for his commentary on the Trojan Catalogue in Book 2 of the Iliad. Alexandra Trachsel’s work represents the first treatment dedicated to Demetrios of Scepsis in over a century. Because of the incomplete transmission of Demetrios’s work, Trachsel necessarily focuses on the way later readers understood the ancient author’s engagement with the Homeric text. Indeed, modern scholars have access to Demetrios’s analysis of the Trojan Catalogue only through their readings.Trachsel’s work offers a thorough analysis of the ancient and modern reactions to Demetrios’s research into the Homeric text and the Trojan landscape, and it revisits the ongoing debate about the setting for Homer’s Trojan poem. Trachsel also provides new evidence about the impressively wide range of other topics Demetrios’s work may have contained.

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In Erin and Iran, ten essays by North American and European scholars discuss parallel themes in and interactions between Irish and Iranian cultures. In the first section three essays explore common elements in pre-Christian Irish and pre-Islamic Iranian mythologies, common elements that have often been pointed out by scholars of Indo-European mythology but rarely examined in detail. In the following section four essays address literary subjects, ranging from medieval romances such as Tristan and Isolde and Vis and Ramin to twentieth-century novels such as James Joyce’s Ulysses and Simin Daneshvar’s Savushun. In the last section three nineteenth-century travelogues are presented, two written by Irish travelers to Iran and one written by an Indo-Persian traveler to Ireland. Together, these studies constitute the first-ever collection of articles dealing with cultural encounters between the Irish and the Iranians.

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Comparative Literature and Classical Persian Poetics applies comparative literary approaches to classical Persian traditions of composing and performing poetry and song. Olga M. Davidson focuses on epic, especially the classical epic Shāhnāma, composed in the early eleventh century CE by the poet Ferdowsi, and on the relationship of this epic to other genres that are found embedded in it. Included among these other genres are forms of verbal art that were originally composed without the aid of writing, such as women’s laments. Davidson explores the many ways in which the epic Shāhnāma incorporates oral poetic traditions in general. Surveying the current state of the art in oral poetic studies, she concentrates on applications of these studies to classical Persian prose as well as poetry. Of special interest is her critical analysis of both modern and ancient claims about the turning of prose into poetry. This second edition of the book contains an added chapter about “live” performances of the epic Shāhnāma.

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Imperial Geographies in Byzantine and Ottoman Space opens new and insightful vistas on the nexus between empire and geography. The volume redirects attention from the Atlantic to the space of the eastern Mediterranean shaped by two empires of remarkable duration and territorial extent, the Byzantine and the Ottoman. The essays offer a diachronic and comparative account that spans the medieval and early modern periods and reaches into the nineteenth century. Methodologically rich, the essays combine historical, literary, and theoretical perspectives. Through texts as diverse as court records and chancery manuals, imperial treatises and fictional works, travel literature and theatrical adaptations, the essays explore ways in which the production of geographical knowledge supported imperial authority or revealed its precarious mastery of geography.

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Aspects of History and Epic in Ancient Iran focuses on the content of one of the most important inscriptions of the Ancient Near East: the Bisotun inscription of the Achaemenid king Darius I (6th century BCE), which in essence reports on a suspicious fratricide and subsequent coup d’état. Moreover, the study shows how the inscription’s narrative would decisively influence the Iranian epic, epigraphic, and historiographical traditions well into the Sasanian and early Islamic periods.Intriguingly, our assessment of the impact of the Bisotun narrative on later literary traditions—in particular, the inscription of the Sasanian king Narseh at Paikuli (3rd–4th centuries CE)—necessarily relies on the reception of the oral rendition of the Bisotun story captured by Greek historians. As Rahim Shayegan argues, this oral tradition had an immeasurable impact upon the historiographical writings and epic compositions of later Iranian empires. It would have otherwise remained unknown to modern scholars, had it not been partially preserved and recorded by Hellanicus of Lesbos, Herodotus, Ctesias, and other Greek authors. The elucidation of Bisotun’s thematic composition therefore not only allows us to solve an ancient murder but also to reevaluate pre-Thucydidean Greek historiography as one of the most important repositories of Iranian epic themes.

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Abu'l-Fażl Beyhaqi, a secretary at the court of a number of Ghaznavid rulers in eastern Iran and Afghanistan in the early Middle Ages, is a most perceptive, as well as intriguing, commentator on the history of the Islamic Near East. The surviving volumes of his massive project, dealing in depth with the years 1030–1041, combine astute criticism and wry humor with an unobtrusive display of mastery of the learned literature of the time, both in Arabic and Persian. Through a skillful manipulation of different styles, and timely introduction of the authorial voice as a framing device to bring a sense of heightened drama, the historian comments on mankind's individual frailties and the many lost opportunities that hasten a mighty dynasty’s decline. Although there are already a number of articles and monographs in English and other Western languages on aspects of his style and historical approach, this is the first complete translation of the extant volumes with a detailed commentary.

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Readers of Herodotus’s Histories are familiar with its reports of bizarre portents, riddling oracles, and striking dreams. But Herodotus draws our attention to other types of signs too, beginning with human speech itself as a coded system that can manipulate and be manipulated. Objects, gifts, artifacts, markings, even the human body, are all capable of being invested with meaning in the Histories and Herodotus shows that conventionally and culturally determined actions, gestures, and ritual all need decoding.This book represents an unprecedented examination of signs and their interpreters, as well as the terminology Herodotus uses to describe sign transmission, reception, and decoding. Through his control and involvement in this process he emerges as a veritable “master of signs.”

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This book is a study of heroic femininity as it appears in the epic Mahābhārata, and focuses particularly on the roles of wife, daughter-in-law, and mother, on how these women speak and on the kinship groups and varying marital systems that surround them. It portrays those qualities that cohere about women in the poem, which are particular to them and which distinguish them as women, and describes how women heroes function as crucial speakers in the generation and maintenance of cultural value and worth. This includes men who have been transformed into women and women who have been reincarnated as men. The overall method accomplishes an ethnography of text, describing a special aspect of the bronze age preliterate and premonetary world as it is represented by the actions and metaphors of Mahābhārata. References to contemporary Indian cinema and popular culture support the narrative of the book, bringing modern valence to the arguments.

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"What if truth were a woman?" asked Nietzsche. In ancient Greek thought, truth in language has a special relation to the female by virtue of her pre-eminent art-form—the one Freud believed was even invented by women—weaving. The essays in this book explore the implications of this nexus: language, the female, weaving, and the construction of truth. The Homeric bard—male, to be sure—inherits from Indo-European culture the designation of his poetry as a weaving, the female's art. Like her tapestries, his "texts" can suspend, reverse, and re-order time. He can weave the content from one world into the interstices of another. The male poet shares the ambiguous power of the female Muses whose speech he channels. "We can say false things like to real things, and whenever we wish, we can utter the truth."

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The Life and Miracles of Thekla offers a unique view on the reception of classical and early Christian literature in Late Antiquity. This study examines the Life and Miracles as an intricate example of Greek writing and attempts to situate the work amidst a wealth of similar literary forms from the classical world. The first half of the Life and Miracles is an erudite paraphrase of the famous second-century Acts of Paul and Thekla. The second half is a collection of forty-six miracles that Thekla worked before and during the composition of the collection.This study represents a detailed investigation into the literary character of this ambitious Greek work from Late Antiquity.

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Graeme D. Bird examines a small group of early papyrus manuscripts of Homer’s Iliad, known as the Ptolemaic papyri, which, although fragmentary, are the oldest surviving physical evidence of the text of the Iliad, dating from the third to the first centuries BCE.These papyri have been described as “eccentric” or even “wild” by some scholars. They differ significantly from the usual text of the Iliad, sometimes showing lines with different wording, at other times including so-called “interpolated” lines that are completely absent from our more familiar version.Whereas some scholars denigrate these papyri because of their “eccentricity,” this book analyzes their unusual readings and shows that in fact they present authentic variations on the Homeric text, based on the variability characteristic of oral performance.

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Kinyras, in Greco-Roman sources, is the central culture-hero of early Cyprus: legendary king, metallurge, Agamemnon’s (faithless) ally, Aphrodite’s priest, father of Myrrha and Adonis, rival of Apollo, ancestor of the Paphian priest-kings, and much more. Kinyras increased in depth and complexity with the demonstration in 1968 that Kinnaru—the divinized temple-lyre—was venerated at Ugarit, an important Late Bronze Age city just opposite Cyprus on the Syrian coast. John Curtis Franklin seeks to harmonize Kinyras as a mythological symbol of pre-Greek Cyprus with what is known of ritual music and deified instruments in the Bronze Age Near East, using evidence going back to early Mesopotamia. Franklin addresses issues of ethnicity and identity; migration and colonization, especially the Aegean diaspora to Cyprus, Cilicia, and Philistia in the Early Iron Age; cultural interface of Hellenic, Eteocypriot, and Levantine groups on Cyprus; early Greek poetics, epic memory, and myth-making; performance traditions and music archaeology; royal ideology and ritual poetics; and a host of specific philological and historical issues arising from the collation of classical and Near Eastern sources.Kinyras includes a vital background study of divinized balang-harps in Mesopotamia by Wolfgang Heimpel. This paperback edition contains minor corrections, while retaining the foldout maps of the original hardback edition as spreads, alongside illustrations and artwork by Glynnis Fawkes.

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Ferdowsi's Shahnama: Millennial Perspectives celebrates the ongoing reception, over the last thousand years, of a masterpiece of classical Persian poetry. The epic of the Shahnama or Book of Kings glorifies the spectacular achievements of Iranian civilization from its mythologized beginnings all the way to the historical time of the Arab Conquest, when the notionally unbroken sequence of Iranian shahs came to an end. The poet Hakim Abu'l-Qasim, who composed this epic, was renamed Ferdowsi or "the man of Paradise" in recognition of his immortalizing artistic accomplishment. Even now, over a thousand years after his death in 1010 CE, the impact of Ferdowsi's epic poetry reverberates in the intellectual and artistic life of Persianate cultures all over the world. Ferdowsi's Shahnama: Millennial Perspectives undertakes a new look at the reception of Ferdowsi's poetry, especially in the twelfth, thirteenth, fourteenth, and fifteenth centuries CE. Such a reception, the contributors to this book argue, actively engages the visual as well as the verbal arts of Iranian civilization. The paintings and other art objects illustrating the Shahnama over the ages are as vitally relevant as the words of Ferdowsi's poetry.

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Worlds of Knowledge in Women’s Travel Writing rediscovers the works of a wide range of authors from the eighteenth to the twentieth century. A stowaway on a voyage circumnavigating the globe; a nineteenth-century visitor to schools in Japan; an Indian activist undertaking a pilgrimage to Iraq—these are some of the women whose experiences come to life in this volume. Worlds of Knowledge explores travel writing as a genre for communicating information about other cultures and for testing assumptions about the nature and extent of women’s expertise. The book challenges the frequent focus in travel studies on English-language texts by exploring works in French and Urdu as well as English and focusing on journeys to France, Spain, Turkey, Iran, Iraq, India, Ethiopia, Japan, Australia, and the Falkland Islands. Written by experts in a wide range of fields, this interdisciplinary volume sheds new light on the range, innovation, and erudition of travel narratives by women.

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The twenty-first century has been a volatile period for American Muslims. Anti-Muslim hate crimes peaked after September 11, 2001, then increased again dramatically in parallel with the candidacy and presidency of Donald Trump. Yet American Muslims now have unprecedented avenues of influence in US politics. Muslims and US Politics Today explores the various representations of Muslims in American political and civic life, the myriad ways American Muslims are affected by politics, and how American Muslims are engaging political life as individuals and communities.This integrative volume reaches back to presidential elections after 9/11 (Edward E. Curtis IV), further back to Iranian immigrants after the Iranian Revolution (Mohsen Mostafavi Mobasher), and back even to fundamentals of religious freedom in the United States (Kambiz GhaneaBassiri; Mucahit Bilici). Aspects of anti-Muslim politics and marginalization, as well as mobilization and activism, are covered in essays by Salah D. Hassan, Evelyn Alsultany, Juliane Hammer, Alisa Perkins, and Sally Howell. In a final section on rethinking Muslim politics, Donna Auston and Sylvia Chan-Malik dialogue on Black American Islam and Junaid Rana looks broadly to a global Muslim left. In this critically-timed volume, editor Mohammad Hassan Khalil has drawn together leading scholars to provide a deep look at the rich political history and future of American Muslims.

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In Masterpieces of Metonymy, Gregory Nagy analyzes metonymy as a mental process that complements metaphor. If metaphor is a substitution of something unfamilar for something familiar, then metonymy can be seen as a connecting of something familiar with something else that is already familiar. Applying this formulation, Nagy offers close readings of over one hundred examples of metonymy as it comes to life in the verbal and the visual arts of Greek culture, as well as in the arts of other cultures. Though it is debatable whether all the selected examples really qualify as masterpieces, what they all have in common is their potential for artistic greatness. A close reading of the verbal and the visual evidence, Nagy argues, leads to a fuller appreciation of this greatness.

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It may seem odd to devote an entire book, however short, to a lost epic of which hardly any fragments (as normally defined) survive. The existence of a late prose summary of the epic’s contents hardly dispels that oddness. One (rather long) word may supply justification: Neoanalysis.This once influential theory held that motifs and episodes in the Iliad derive from the Aethiopis, called thus after an Ethiopian prince who allied with Troy against the Greeks, only to be killed by the Greeks’ greatest hero, Achilles. The death of that hero himself, at the hands of Paris, was then described, followed by the suicide of Ajax and preparations for the sack of Troy. The prose summary thus suggests a sequel to Homer’s poem, rather than its source, and for various reasons, especially the theory’s apparent failure to allow for the concept of oral composition, Neoanalysis fell into disfavor. Its recent revival in subtler form, given its vast potential implications for the Iliad’s origins, has inspired this volume’s critical reappraisal of that theory’s more sophisticated reincarnation. In addition, even more than with other lost early epics, the possibility that Greek vase paintings may reflect episodes of the poem must be examined.

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What do we mean by “space” in the Iliad? The aim of this book is to offer a systematic and comprehensive presentation of the different types and functions of space in the earliest work of Greek literature. By adopting a twofold division between simple and embedded story space, the former pertaining to the actions of characters and the latter to their thoughts, Christos Tsagalis shows how character drawing and authority are deeply influenced by active spatial representation.Similes and descriptive passages, in which space looms large, are also viewed in a new light as the author explores the relation between space designated in the similes and in the corresponding action of the main narrative. Given the importance in cognitive theory of the role of memory in an oral medium such as epic song, the book analyzes Homeric modes of visual memory, implicit knowledge, and mnemonic formats in order to better understand the composition and presentation of descriptive and ekphrastic passages, with special emphasis on the numerous prized objects and the monumental shield of Achilles.

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Solomon and Marcolf is known for being both important and mysterious. It pits wise Solomon, famous from the Bible, against a wily peasant named Marcolf. One of its two parts is a dialogue, in which the king and jester, sage and fool, prophet and blasphemer bandy back and forth questions and comments. Whereas Solomon is solemn and pompous, Marcolf resorts to low language and earthy topics. The other part comprises twenty short chapters in which Marcolf tricks Solomon time and again. These episodes are as impudent and scatological as is the dialogue. Together, the two parts constitute a rudimental prose novel or “rogue biography.”Cited by Bakhtin in Rabelais and His World, Solomon and Marcolf is widely known by name. But until now it has not been translated into any modern language. The present volume offers an introduction, followed by the Latin and English, detailed commentary, and reproductions of woodcut illustrations from the 1514 edition. Appendixes help readers understand the origins and influence of a work that was composed around 1200, that attained its greatest popularity in the fifteenth and sixteenth centuries, and that has the potential still today to delight and instruct.

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This is a study of the twelve small gold lamellae from Crete that were tokens for entrance into a golden afterlife: the deceased who were buried or cremated with them believed that they had 'earned Paradise.' The lamellae are placed within the context of a small corpus of similar texts, and published with extensive commentary on their topography, lettering and engraving, dialect and orthography, meter, chronology, and usage. The texts reveal a hieros logos whose poetics and rituals are not much different from Homeric rhapsodizing and prophetic discourses. Cretan contexts, both literary and archaeological, are also brought to bear on these incised objects and on the burial custom involved. Finally, this work adduces parallels to the texts on the lamellae from the Byzantine period and modern Greece to illuminate the everlasting and persistent human quest for 'earning Paradise.'

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In his Symposium, Plato crafted a set of speeches in praise of love that has influenced writers and artists from antiquity to the present. Early Christian writers read the dialogue's 'ascent passage' as a vision of the soul's journey to heaven. Ficino's commentary on the Symposium inspired poets and artists throughout Renaissance Europe and introduced 'a Platonic love' into common speech. Themes or images from the dialogue have appeared in paintings or sketches by Rubens, David, Feuerbach, and La Farge, as well as in musical compositions by Satie and Bernstein. The dialogue's view of love as 'desire for eternal possession of the good' is still of enormous philosophical interest in its own right. Nevertheless, questions remain concerning the meaning of specific features, the significance of the dialogue as a whole, and the character of its influence. This volume brings together an international team of scholars to address such questions.

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As Greek and Trojan forces battled in the shadow of Troy's wall, Hephaistos created a wondrous, ornately decorated shield for Achilles. At the Shield's center lay two walled cities, one at war and one at peace, surrounded by fields and pasturelands. Viewed as Homer's blueprint for an ideal, or utopian, social order, the Shield reveals that restraining and taming Nature would be fundamental to the Hellenic urban quest. It is this ideal that Classical Athens, with her utilitarian view of Nature, exemplified. In a city lacking pleasure gardens, it was particularly worthy of note when Epicurus created his garden oasis within the dense urban fabric. The disastrous results of extreme anthropocentrism would promote an essentially nostalgic desire to break down artificial barriers between humanity and Nature. This new ideal, vividly expressed through the domestication of Nature in villas and gardens and also through primitivist and Epicurean tendencies in Latin literature, informed the urban endeavors of Rome.

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The festival of the Panathenaia, held in Athens every summer to celebrate the birthday of the city's goddess, Athena, was the setting for performances of the Homeric Iliad and Odyssey by professional reciters or "rhapsodes." The works of Plato are our main surviving source of information about these performances. Through his references, a crucial phase in the history of the Homeric tradition can be reconstructed. Through Plato's eyes, the "staging" of Homer in classical Athens can once again become a virtual reality. This book examines the overall testimony of Plato as an expert about the cultural legacy of these Homeric performances. Plato's fine ear for language—in this case the technical language of high-class artisans like rhapsodes—picks up on a variety of authentic expressions that echo the talk of rhapsodes as they once practiced their art. Highlighted among the works of Plato are the Ion, the Timaeus, and the Critias. Some experts who study the Timaeus have suggested that Plato must have intended this masterpiece, described by his characters as a humnos, to be a tribute to Athena. The metaphor of weaving, implicit in humnos and explicit in the peplos or robe that was offered to the goddess at the Panathenaia, applies also to Homeric poetry: it too was pictured as a humnos, destined for eternal re-weaving on the festive occasion of Athena's eternally self-renewing birthday.

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Greek Language, Italian Landscape traces the transformation of language ideologies and practices of Griko, a variety of Modern Greek used in the Italian province of Lecce, and proposes the concept of “the cultural temporality of language” to describe how locals are converting what was once considered a “backward language” into a symbolic resource.

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In Pindar’s Verbal Art, James Bradley Wells argues that the victory song is a traditional art form that appealed to a popular audience and served exclusive elite interests through the inclusive appeal of entertainment, popular instruction, and laughter. This is the first study of Pindar’s language that applies performance as a method for the ethnographic description and interpretation of entextualized records of verbal art. In Mikhail Bakhtin’s terms, Pindar’s Verbal Art is a sociological stylistics of epinician language and demonstrates that Pindar’s is a highly dialogical form of art, an intertextual web of voices, whose study enables us to appreciate popular dimensions of his songs. Wells offers a new take on recurrent Pindaric questions: genre, the unity of the victory song, tradition, and, principally, epinician performance.

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Responding to George Lakoff’s and Mark Johnson’s analysis of metaphor, William Brockliss explores the Homeric poets’ use of concrete concepts drawn from the Greek natural environment to aid their audiences’ understanding of abstract concepts. In particular, he considers Homeric images that associate flowers with the concepts of deception, disorder, and death, and examines the ways in which the poets engage with natural phenomena such as the brief, diverse blooms of the Greek spring.Taken together, such Homeric images present a more pessimistic depiction of the human condition than we find in the vegetal imagery of other archaic Greek genres. While lyric poets drew on floral imagery to emphasize the beauty of the beloved, the Homeric poets used images of flowers to explore the potentially deceptive qualities of bodies adorned for seduction. Where the Hesiodic poets employed vegetal images to depict the stable structure of the cosmos, the Homeric poets set arboreal imagery of good order against floral images suggestive of challenges or changes to orderliness. And while the elegiac poets celebrated the brief “flower of youth,” the Homeric poets created floral images reminiscent of Hesiodic monsters, and thereby helped audiences to imagine the monstrous otherness of death.

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Achilles—warrior and hero—by the protocols of Western culture, should never cry. And yet Homeric epic is full of his tears and those of his companions at Troy. This path-blazing study by Hélène Monsacré shows how later ideals of stoically inexpressive manhood run contrary to the poetic vision presented in the Iliad and Odyssey. The epic protagonists, as larger-than-life figures who transcend gender categories, are precisely the men most likely to weep.Monsacré pursues the paradox of the tearful fighter through a series of lucid and detailed close readings, and examines all aspects of the interactions between men and women in the Homeric poems. Her illuminating analysis, first published in French in 1984, remains bold, fresh, and compelling for anyone touched—like Achilles—by a world of grief.

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The central character of Divine Yet Human Epics is the developing conception of epic itself. Its story unfolds as the ancient Greek idea of epic originates with Pindar and Herodotus on the basis of the Iliad and Odyssey. While this notion eventually leads their Sanskrit counterparts, the Ramaya?a and Mahabharata, to be understood selectively in modern times, medieval readers Anandavardhana and Rajasekhara reveal distinctive features of these ancient Indian poems earlier in this exegetical tale. Shubha Pathak's interpretative account concludes with a new way to connect these primary epics to their Greek analogues. Both epic pairs feature poetic kings who together affirm and interrogate their societies' central religious ideals: Greek kléos (or heroic glory, which assuages uncertainty about the afterlife) and Indian dharma (or righteousness, which counters encroaching immorality). The Greek and Sanskrit epics, by showing both the divine ease and the human difficulty with which kléos and dharma are achieved, employ similar teaching strategies to address the shared psychological needs of human beings learning to live within the disparate cultures of ancient Greece and India. This cross-cultural comparative study thus provides a more comprehensive perspective on the poems' religiosity than the vantage points of Hellenists or of Indologists alone.

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Homer’s Iliad and Odyssey are the only early Greek heroic epics to have survived the transition to writing, even though extant evidence indicates that they emerged from a thriving oral culture. Among the missing are the songs of Boeotian Thebes.Homer’s Thebes examines moments in the Iliad and Odyssey where Theban characters and thematic engagements come to the fore. Rather than sifting through these appearances to reconstruct lost poems, Elton Barker and Joel Christensen argue that the Homeric poems borrow heroes from Thebes to address key ideas—about politics, time, and genre—that set out the unique superiority of these texts in performance. By using evidence from Hesiod and fragmentary sources attributed to Theban tradition, Barker and Christensen explore Homer’s appropriation of Theban motifs of strife and distribution to promote his tale of the sack of Troy and the returns home.As Homer’s Thebes shows, this Theban material sheds light on the exceptionality of the Homeric epics through the notions of poetic rivalry and Panhellenism. Furthermore, by emphasizing a nonhierarchical model of “reading” the epics derived from oral-formulaic poetics, this book contributes to recent debates about allusion, neoanalysis, and intertextuality.

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Eusebius of Caesarea was one of the most significant and voluminous contributors to the development of late antique literary culture. Despite his significance, Eusebius has tended to receive attention more as a source for histories of early Christianity and the Constantinian empire than as a writer and thinker in his own right. He was a compiler and copyist of pagan and Christian texts, collator of a massive chronographical work, commentator on scriptural texts, author of apologetic, historical, educational, and biographical works, and custodian of one of the greatest libraries in the ancient world. As such, Eusebius merits a primary place in our appreciation of the literary culture of late antiquity for both his self-conscious conveyance of multiple traditions and his fostering of innovative literary and intellectual trajectories. By focusing on the full range of Eusebius’s literary corpus, the collection of essays in Eusebius of Caesarea offers new and innovative studies that will change the ways classicists, theologians, and ancient historians think about this major figure.

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Poet and Hero in the Persian Book of Kings presents a far-reaching reassessment of the classical Persian epic known as the Shahnama or “Book of Kings,” composed by the poet Ferdowsi in the early eleventh century ce. Combining comparative perspectives with a close reading of the internal evidence provided by the text of this epic, Olga M. Davidson argues that the poet of the Shahnama is actually a character in the epic, coexisting with ancient Iranian heroes and kings whose deeds are celebrated by the poetry. The poet can have the role of a character because his poetry comes to life in performance. Whenever the Shahnama was performed by the poet or by later practitioners of his poetry, the performer could interact with his grand characters by re-engaging with their stories, as if for the first time. After documenting the oral poetic performance traditions underlying the text of the Shahnama in all its variations, Davidson argues that the heroic tradition of this epic is deeply ancient, stemming from Indo-European poetic traditions. A primary example is the great warrior Rostam, who upholds Iranian kingship while at the same time posing a threat to kings who prove unworthy of the crown.

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Paideia and Cult explores the role of Christian education and worship in the complex process of conversion and Christianization. It analyzes the Catechetical Homilies of Theodore of Mopsuestia as a curriculum designed to train those seeking initiation into the Christian mysteries. Although Theodore gave considerable attention to teaching creedal theology, he sought to go beyond simply communicating information. His catechetical preaching set the teaching of Christian ideas within the context of religious community and ritual participation. In doing so he sought to produce a Christianized view of the world and of the convert’s place in a community of worship. Theodore’s attention to the communal, cognitive, and ritual components of initiation suggest a substantive understanding of religious conversion, yet one that avoids an overemphasis on intellectual and psychological transformation. Throughout this study catechesis emerges as invaluable for comprehending the ability of clergy to initiate new members as Christianity gained increasing prominence within the late Roman world.

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Xenophon is generally thought to have done his best theorizing on leadership through his portrayal of Cyrus the Great, the first king of the Persian Empire. In this book, Norman Sandridge argues that Xenophon actually reduces his Theory of Leadership to a set of fundamental traits, namely, the love of humanity, the love of learning, and the love of being honored. These so-called fundamental traits are the product of several rich contexts across culture and across time: the portrait of Cyrus seems as much a composite of Persian folklore as a pointed response to Plato’s Philosopher King. Sandridge further argues that Xenophon’s Theory of Leadership is effective for addressing many problems of leadership that were familiar to Xenophon and his fourth-century Athenian contemporaries, notably Plato and Isocrates. By looking at the contexts in which Xenophon’s theory was conceived, as well as the problems of leadership he sought to address, this book sees Xenophon as attempting a sincerely laudatory though not ideal portrait of Cyrus. The study thus falls between interpretations of the Education of Cyrus that have seen Cyrus as either a perfect leader or an ironically flawed one.

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Jaya is a study of how the four poets of the Indian epic Mahābhārata fuse their separate performances of the poem into a single and seamless work of art. The book examines in detail the different mnemonic forms engaged by this verbal activity focusing primarily on the distinction between what is seen and what is heard, as the poets stage and dramatize the four dimensions of their heroic song within one timely occasion. The subtle poetics of preliteracy and literacy which are compounded in one performance are demonstrated and made distinct in both a literary and a conceptual light. Jaya will be of interest to those who work in Sanskrit and Indian Studies, the Classics, Oral Traditions, Comparative Literature, and the traditions of archaic poetry.

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Abu'l-Fażl Beyhaqi, a secretary at the court of a number of Ghaznavid rulers in eastern Iran and Afghanistan in the early Middle Ages, is a most perceptive, as well as intriguing, commentator on the history of the Islamic Near East. The surviving volumes of his massive project, dealing in depth with the years 1030–1041, combine astute criticism and wry humor with an unobtrusive display of mastery of the learned literature of the time, both in Arabic and Persian. Through a skillful manipulation of different styles, and timely introduction of the authorial voice as a framing device to bring a sense of heightened drama, the historian comments on mankind's individual frailties and the many lost opportunities that hasten a mighty dynasty’s decline. Although there are already a number of articles and monographs in English and other Western languages on aspects of his style and historical approach, this is the first complete translation of the extant volumes with a detailed commentary.

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As scholars have remarked, the word kleos in the Iliad and the Odyssey alike refers to something more substantive and complex than “fame” or “glory.” Kleos distinctly supposes an oral narrative—principally an “oral history,” a “life story” or ultimately an “oral tradition.” When broken down into its twin constituents, “words” and “actions” or “deeds,” a hero’s kleos serves to define him as a fully gendered social being.This book is a meditation on this concept as expressed and experienced in the adult society Telemachos find himself in. Kleos is the yardstick by which his psychological change was appreciated by Homer’s audiences. As this book shows through philological and interdisciplinary analysis, Prince Telemachos grows up in the course of the Telemachy and arguably even beyond (in book 24): his education, which is conceived largely as an apprenticeship on land and sea, admits him gradually if unevenly to a full-fledged adult kleos—a kleos that nonetheless necessarily remains minor in comparison to that of his father and other elders.

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This book explores the place of the sophists within the Greek wisdom tradition, and argues against their almost universal exclusion from serious intellectual traditions. By studying the sophists against the backdrop of the archaic Greek institutions of wisdom, it is possible to detect considerable intellectual overlap between them and their predecessors. This book explores the continuity of this tradition, suggesting that the sophists’ intellectual balkanization in modern scholarship, particularly their low standing in comparison to the Presocratics, Platonists, and Aristotelians, is a direct result of Plato’s condemnation of them and their practices. This book thus seeks to offer a revised history of the development of Greek philosophy, as well as of the potential—yet never realized—courses it might have followed.

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The crisis of Spartan power in the first half of the fourth century has been connected to Spartan inability to manage the hegemony built on the ruins of the Athenian Empire, or interpreted as a result of the unexpected annihilation of the Spartan army by the Boeotians at Leuktra. The present book offers a new perspective, suggesting that the crisis that finally brought down Sparta was in important ways a result of centrifugal impulses within the Peloponnesian League, accompanied by a general awakening of ethnicity in various areas of the Peloponnese. A series of regional case studies is combined with thematic contributions focusing on topics such as the relationship of religious cults and ethnicity and of democracy and ethnicity, the use of archaeological evidence for ethnic phenomena, and comparative approaches based on social anthropology.

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This book makes the case that the plot of the Odyssey is represented within the narrative as a plan of Zeus, Dios boulē, that serves as a guide for the performing poet and as a hermeneutic for the audience. Through occasional participation in events and pervasive influence, the character of Zeus maintains thematic unity as the narrative moves through a mass of potential narrative paths for Odysseus that was already dense and conflicting at the time the Odyssey was taking shape. The “Zeus-centric” reading proposed here offers fresh perspectives on the tenor of interactions among the Odyssey’s characters, on the relationships among traditional accounts of Odysseus’s return, and on long-standing problems of interpretation.

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“What is a Greek priest?” The volume, which has its origins in a symposium held at the Center for Hellenic Studies in Washington, D.C., focuses on the question through a variety of lenses: the visual representation of cult personnel, priests as ritual experts, variations of priesthood, ideal concepts and their transformation, and the role of manteis. Each chapter looks at how priests and religious officials used a potential authority to promote themselves and their posts, how they played a role in conserving, shaping and reviving cult activity, how they acted behind the curtain of polis institutions, and how they performed as mediators between men and gods. It becomes clear that Greek priests had many faces, and that the factors that determined their roles and activities are political as well as historical, religious as well as economic, idealistic as well as pragmatic, personal as well as communal.

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In this groundbreaking study, Anton Bierl uses recent approaches in literary and cultural studies to investigate the chorus of Old Comedy. After an extensive theoretical introduction that also serves as a general introduction to the dramatic chorus from the comic vantage point, a close reading of Aristophanes' Thesmophoriazusae shows that ritual is indeed present in both the micro- and macrostructure of Attic comedy, not as a fossilized remnant of the origins of the genre but as part of a still existing performative choral culture. The chorus members do play a role within the dramatic plot, but they simultaneously refer to their own performance in the here and now and to their function as participants in a ritual. Bierl's investigation also includes an unparalleled treatment of the phallic songs preserved by Semos.

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Descriptions of dreams abound in the literatures of the Near East and North Africa. The Prophet Muhammad endowed them with a theological dimension, saying that after him “true dreams” would be the only channel for prophecy. Dreams were often used to support conflicting theological and political arguments, and the local chronicles contain many accounts of royal dreams justifying the advent of new dynasties.This volume explores the context of these theological speculations and political aspirations through the medium of dreams to present fascinating insights into the social history of the pre-modern Islamic world in all its cultural diversity. Wider cultural exchanges are discussed through concrete examples such as the Arabic version of the Aristotelian treatise De divinatione per somnum. Some of the current scholarly assumptions about dreams being merely stylized expressions of social conventions are challenged by personal reports that express individual personalities, self-awareness, and spiritual development.This is the first volume of the Ilex Series on Themes and Traditions. The series explores cross-cultural constructs without losing sight of the rich texture of local variations of traditions or beliefs.

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Homeric Conversation is the first full-length study of conversation in the Homeric poems. Deborah Beck argues that conversation should be considered a traditional Homeric type scene, alongside recognized types such as arrival, sacrifice, battle, and hospitality. Drawing on both linguistics and previous work on type scenes and oral aesthetics, the book describes the typical conversational patterns that characterize a range of situations, including one-on-one conversation, formal assemblies, battlefield encounters, and laments. Departures from these typical patterns for conversation provide the basis for a wide-ranging, closely argued aesthetic analysis of repetition and variation in the Homeric epics.

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