In this book lies a key for decoding modern medical terminology, a living language that, despite some quirks, is best approached as an ordered system. Rather than presenting a mere list of word elements to be absorbed through rote memorization, The Hippocrates Code offers a thorough, linguistically-centered explanation of the rules of the terminological game, both for the language of medicine and for scientific vocabulary in general. Its careful exposition of Latin and Greek linguistic principles—along with a healthy dose of innovative exercises—empowers students to successfully employ the word elements that are the building blocks of modern medical terminology. Along the way, fascinating discussions of the practice of medicine in the ancient world provide an integral aid to the understanding of medical vocabulary. Code-breakers drawn to language, history, and medicine will be as stimulated as they are enlightened.
Generations of scholars have grappled with the origins of ‘palace’ society on Minoan Crete, seeking to explain when and how life on the island altered monumentally. Emily Anderson turns light on the moment just before the palaces, recognizing it as a remarkably vibrant phase of socio-cultural innovation. Exploring the role of craftspersons, travelers and powerful objects, she argues that social change resulted from creative work that forged connections at new scales and in novel ways. This study focuses on an extraordinary corpus of sealstones which have been excavated across Crete. Fashioned of imported ivory and engraved with images of dashing lions, these distinctive objects linked the identities of their distant owners. Anderson argues that it was the repeated but pioneering actions of such diverse figures, people and objects alike, that dramatically changed the shape of social life in the Aegean at the turn of the second millennium BCE.
Fragmented, buried, and largely lost, the classical past presents formidable obstacles to anyone who would seek to know it. Deep Classics is the study of these obstacles and, in particular, of the way in which the contemplation of the classical past resembles—and has even provided a model for—other kinds of human endeavor. This volume offers a new way to understand the modalities and aims of Classics itself, through the ages. Its individual chapters draw fruitful connections between the reception of the classical and current concerns in the philosophy of mind, cognitive theory, epistemology, media studies, sense studies, aesthetics, queer theory, the history of science and eco-criticism. This groundbreaking collection of essays makes a pointed intervention in the study of the classical tradition, now generally known as classical reception studies.
The papers assembled in this volume explore a relatively new area in scholarship on the ancient novel: the relationship between an ostensibly non-philosophical genre and philosophy. This approach opens up several original themes for further research and debate. Platonising fiction was popular in the Second Sophistic and it took a variety of forms, ranging from the intertextual to the allegorical, and discussions of the origins of the novel-genre in antiquity have centred on the role of Socratic dialogue in general and Plato’s dialogues in particular as important precursors. The papers in this collection cover a variety of genres, ranging from the Greek and Roman novels to utopian narratives and fictional biographies, and seek by diverse methods to detect philosophical resonances in these texts.
Sleep was viewed as a boon by the ancient Greeks: sweet, soft, honeyed, balmy, care-loosening, as the Iliad has it. But neither was sleep straightforward, nor safe. It could be interrupted, often by a dream. It could be the site of dramatic intervention by a god or goddess. It might mark the transition in a narrative relationship, as when Penelope for the first time in weeks slumbers happily through Odysseus’ vengeful slaughter of her suitors. Silvia Montiglio’s imaginative and comprehensive study of the topic illuminates the various ways writers in antiquity used sleep to deal with major aspects of plot and character development. The author shows that sleeplessness, too, carries great weight in classical literature. Doom hangs by a thread as Agamemnon—in Iphigenia in Aulis—paces, restless and sleepless, while around him everyone else dozes on. Exploring recurring tropes of somnolence and wakefulness in the Iliad, the Odyssey, Athenian drama, the Argonautica and ancient novels by Xenophon, Chariton, Heliodorus and Achilles Tatius, this is a unique contribution to better understandings of ancient Greek writing.
Long before the invention of the phonograph, the written word was unrivaled as a medium of the human voice. In The Ancient Phonograph, Shane Butler takes us back to an age, long before Edison, when writing itself was still relatively new. He meticulously reconstructs a series of Greek and Roman soundscapes ranging from Aristotle to Augustine. Here the real voices of tragic actors, ambitious orators, and singing emperors blend with the imagined voices of lovesick nymphs, tormented heroes, and angry gods. The resonant world we encounter in ancient sources is at first unfamiliar, populated by texts that speak and sing, often with no clear difference between the two. But Butler discovers a commonality that invites a deeper understanding of why voices mattered then, and why they have mattered since.
With later examples that range from Petrarch to Puccini, Mozart to Jimi Hendrix, Butler offers an ambitious attempt to rethink the voice — as an anatomical presence, a conceptual category, and a source of pleasure and wonder. He carefully and critically assesses the strengths and limits of recent theoretical approaches to the voice by Adriana Cavarero and Mladen Dolar and makes a rich and provocative range of ancient material available for the first time to students and scholars in voice studies, sound studies, and media theory. The Ancient Phonograph will appeal not only to classicists but to anyone interested in the verbal arts — literature, oratory, song — and the nature of aesthetic experience.
“Machiavellian”―used to describe the ruthless cunning of the power-obsessed and the pitiless―is never meant as a compliment. But the man whose name became shorthand for all that is ugly in politics was more engaging and nuanced than his reputation suggests. Christopher S. Celenza’s Machiavelli: A Portrait removes the varnish of centuries to reveal not only the hardnosed political philosopher but the skilled diplomat, learned commentator on ancient history, comic playwright, tireless letter writer, and thwarted lover.
Machiavelli’s hometown was the epicenter of the Italian Renaissance in the fifteenth century, a place of unparalleled artistic and intellectual attainments. But Florence was also riven by extraordinary violence. War and public executions were commonplace―Machiavelli himself was imprisoned and brutally tortured at the behest of his own government. These experiences left a deep impression on this keen observer of power politics, whose two masterpieces―The Prince and The Discourses―draw everywhere on the hard-won wisdom gained from navigating a treacherous world. But like many of Machiavelli’s fellow Florentines, he also immersed himself in the Latin language and wisdom of authors from the classical past. And for all of Machiavelli’s indifference to religion, vestiges of Christianity remained in his thought, especially the hope for a redeemer―a prince who would provide the stability so rare in Machiavelli’s worldly experience.
Like us, the ancient Greeks and Romans came to know and understand the world through their senses. Yet sensory experience has rarely been considered in the study of antiquity and, even when the senses are examined, sight is regularly privileged.
Synaesthesia and the Ancient Senses presents a radical reappraisal of antiquity’s textures, flavors, aromas, sounds and sights. It offers both a fresh look at the ancient world and an opportunity to deepen the reading of classical literature.
This book will appeal to readers in classical society and literature, philosophy, and social and cultural history. All Greek and Latin is translated, and technical matters are explained for the non-specialist. The introduction sets the ancient senses within the history of aesthetics and the subsequent essays explore the senses throughout the classical period and on to the modern reception of classical literature.
From the Odyssey and King Lear to modern novels by Umberto Eco and John le Carré, the recognition scene has enjoyed a long life in Western literature. It first became a regular feature of prose literature in the Greek novels of the first century CE. In these examples, it is the event that ensures the happy ending for the hero and heroine, and as such, it seems, was as pleasing for Greek readers as the canonical Hollywood kiss is for contemporary movie goers. Recognitions are particularly gratifying in the context of the ancient novels because the genre as a whole celebrates the idyllic social order to which the heroes and heroines belong and from which they have been harshly severed. In spite of their high frequency and thematic importance, novelistic recognitions have attracted little critical attention, especially in relation to epic and tragedy. With Love and Providence, Silvia Montiglio seeks to fill this gap. She begins by introducing the meaning of recognitions in the ancient novel both within the novels’ narrative structure and thought world—that is, the values and ideals propounded in the narrative. She pursues these goals while examining novels by Chariton, Xenophon of Ephesus, Achilles Tatius, Longus, Heliodorus, Apuleius, and Petronius, as well as the Life of Apollonius of Tyre, the pseudo-Clementine recognitions, and the Jewish novel Joseph and Aseneth. In addition to addressing questions brought about by the recognitions–What does it mean for lovers to recognize each other at the end of their adventures? Is recognition the confirmation of sameness or an acknowledgement of change?–Montiglio addresses the rapport novelists entertain with their literary tradition, epic and drama. The book concludes by emphasizing the originality of the novels for the development of the recognition motif, and by explaining its influence in early-modern European literature.
Sextus Empiricus’ Against the Physicists examines numerous topics central to ancient Greek inquiries into the nature of the physical world, covering subjects such as god, cause and effect, whole and part, bodies, place, motion, time, number, coming into being and perishing and is the most extensive surviving treatment of these topics by an ancient Greek sceptic. Sextus scrutinizes the theories of non-sceptical thinkers, and generates suspension of judgement through the assembly of equally powerful opposing arguments. Richard Bett’s edition provides crucial background information about the text and elucidation of difficult passages. His accurate and readable translation is supported by substantial interpretative aids, including a glossary and a list of parallel passages relating Against the Physicists to other works by Sextus. This is an indispensable edition for advanced students and scholars studying this important work by an influential philosopher.