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Addressed to readers of modern literature as well as to those interested in Greco-Roman literature and in religious history, Auctor and Actor examines Apuleius's The Golden Ass as an early example of self-consciousness in narrative. Entering into the spirit of the novel's crafty playfulness, John Winkler carries the reader on a journey that is, like that of the hero Lucius, both entertaining and enlightening. Addressed to readers of modern literature as well as to those interested in Greco-Roman literature and in religious history, Auctor and Actor examines Apuleius's The Golden Ass as an early example of self-consciousness in narrative. Entering into the spirit of the novel's crafty playfulness, John Winkler carries the reader on a journey that is, like that of the hero Lucius, both entertaining and enlightening.
This sixth AN Supplementum, Lectiones Scrupulosae ('Scrupulous Rea¡dings'), is a Festschrift in honour of Maaike Zimmerman offered to her by a group of Apuleian scholars on the occasion of her sixty-fifth birthday. It is a volume focused on the text of Apuleius' Metamorphoses that offers Maaike and all other lectores scrupulosi ('scrupulous readers') of Apuleius' novel a collection of studies that shed new light on certain aspects of text and interpretation. Moreover, since Maaike Zimmerman is currently working on a new critical edition of Apuleius' Metamorphoses for the Oxford Classical Texts series, an additional motivation for this volume was the presentation of a collection of original papers providing material on a number of passages for Maaike to ponder and take into consideration as she reviews the text.Everything proceeds from the text: a textual issue can open the door to a broader approach, including, for example, discussions of literary interpretation, linguistics, or style. Hence, one of the themes of the volume is to show connections between problems of textual criticism and larger interpretative issues (e.g. Bitel, Finkelpearl, McCreight, Keulen). Maaike herself is expert at this kind of 'explication du texte'. Within the broad spectrum between 'text' and 'interpretation', the contributions to this volume present different approaches and choices, varying from a traditional, purely 'textual' approach to one that is largely interpretative and seeks to explain the multi-layered texture of Apuleius' narrative in the light of certain metaphors, images, or expressions. Some articles offer new conjectures and readings of vexed passages (Harrison, Plaza), support unjustly neglected conjectures (McCreight, Schmeling and Montiglio), or propose to banish certain passages or phrases once and for all from the center of the text to a peripheral exile in the apparatus criticus, as a footnote in the history of the text's reception (Bitel, Hunink). Other contributions focus on the 'authorship' of the Metamorphoses (Tatum) or the vicissitudes of the Apuleian text in the hands of Medieval and Renaissance readers (Hunink, May). Through their contributions to Lectiones Scrupulosae, the authors of this AN Supplementum not only honour Maaike as a text-editor or commentator, but also pay tribute to her other scholarly output, such as her work on Cupid and Psyche (Hij¡mans), on Apuleius and Roman Satire or the Greek Ass Tale (e.g. Dowden, Graverini, Plaza, Panayotakis), on the reader's role in the Prologue and on Apuleian ecphrasis (Keulen, van Mal-Maeder), or on space symbolism in the Metamorphoses (James and O'Brien). But all contributors in this volume also send Maaike the same message of friendship and gratitude that can be summarized as follows: Lector, intende: laetaberis.
This book sheds light on the complexity of medieval German literary culture as it evolved in the course of the thirteenth century (c. 1220-1920) by analysing the attitudes of narrative poets towards the issue of authorship. It describes the various ways in which vernacular writers could address the theme of their own authorship within their literary works, and explores the tensions that arose between such authorial strategies on the one hand and their subsequent manuscript transmission on the other.
Cynthia J. Brown explains why the advent of print in the late medieval period brought about changes in relationships among poets, patrons, and printers which led to a new conception of authorship. Examining such paratextual elements of manuscripts as title pages, colophons, and illustrations as well as such literary strategies as experimentation with narrative voice, Brown traces authors' attempts to underscore their narrative presence in their works and to displace patrons from their role as sponsors and protectors of the book. Her accounts of the struggles of poets, including Jean Lemaire, Jean Bouchet, Jean Molinet, and Pierre Gringore, over the design, printing, and sale of their books demonstrate how authors secured the status of literary proprietor during the transition from the culture of script and courtly patronage to that of print capitalism.
This book is the first full-length study to examine Molière's evolving (and at times contradictory) authorial strategies, as evidenced both by his portrayal of authors and publication within the plays and by his own interactions with the seventeenth-century Parisian publishing industry. Historians of the book have described the time period that coincides with Molière's theatrical activity as centrally important to the development of authors' rights and to the professionalization of the literary field. A seventeenth-century author, however, was not so much born as negotiated through often acrimonious relations in a world of new and dizzying possibilities.The learning curve was at times steep and unpleasant, as Molière discovered when his first Parisian play was stolen by a rogue publisher. Nevertheless, the dramatist proved to be a quick learner; from his first published play in 1660 until his death in 1673, Molière changed from a reluctant and victimized author to an innovator (or, according to his enemies, even a swindler) who aggressively secured the rights to his plays, stealing them back when necessary. Through such shrewdness, he acquired for himself publication privileges and conditions relatively unknown in an era before copyright. As Molière himself wrote, making people laugh was "une étrange entreprise" (La Critique de L'École des femmes, 1663). To an even greater degree, comedic authorship for the playwright was a constant work in progress, and in this sense, "Molière," the stage name that became a pen name, represents the most carefully elaborated of Jean-Baptiste Poquelin's invented characters.
Timothy Bellamah explores the exegesis of William of Alton, a Dominican regent master at Paris during the thirteenth-century. A near contemporary of Bonaventure, Albert the Great, and Thomas Aquinas, William was an important representative of university exegesis at a time of rapidly changing methods and remarkable intellectual development.
This work presents a thorough historicist account of the development of subjectivity in the medieval period, as traced in medieval literature and historical documentation.
'In the Vineyard, as in all of Illich's writings, the search runs through accepted certainties, whatever their times and places, questioning them for truths still valid in the formation of personal wisdom.'-Mother Jerome von Nagel, O.S.B., Abbey of Regina LaudisThis book commemorates the dawn of scholastic reading. It tells about the emergence of an approach to letters that George Steiner calls bookish, and which for eight hundred years legitimated the establishment of western secular religion, and schooling its church.