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Alexander the Great, according to Plutarch, carried on his campaigns a copy of the Iliad, kept alongside a dagger; on a more pronounced ideological level, ancient Romans looked to the Aeneid as an argument for imperialism. In this major reinterpretation of epic poetry beginning with Virgil, David Quint explores the political context and meanings of key works in Western literature. He divides the history of the genre into two political traditions: the Virgilian epics of conquest and empire that take the victors' side (the Aeneid itself, Camoes's Lusíadas, Tasso's Gerusalemme liberata) and the countervailing epic of the defeated and of republican liberty (Lucan's Pharsalia, Ercilla's Araucana, and d'Aubigné's Les tragiques). These traditions produce opposing ideas of historical narrative: a linear, teleological narrative that belongs to the imperial conquerors, and an episodic and open-ended narrative identified with "romance," the story told of and by the defeated. Quint situates Paradise Lost and Paradise Regained within these rival traditions. He extends his political analysis to the scholarly revival of medieval epic in the late eighteenth and nineteenth centuries and to Sergei Eisenstein's epic film, Alexander Nevsky. Attending both to the topical contexts of individual poems and to the larger historical development of the epic genre, Epic and Empire provides new models for exploring the relationship between ideology and literary form.
In contrast to the role traditionally fulfilled by secular rulers, the pope has been perceived as an individual person existing in a body subject to decay and death, yet at the same time a corporeal representation of Christ and the Church, eternity and salvation. Using an array of evidence from the eleventh through the fifteenth centuries, Agostino Paravicini- Bagliani addresses this paradox. He studies the rituals, metaphors, and images of the pope's body as they developed over time and shows how they resulted in the expectation that the pope's body be simultaneously physical and metaphorical. Also included is a particular emphasis on the thirteenth century when, during the pontificate of Boniface VIII (1294-1303), the papal court became the focus of medicine and the natural sciences as physicians devised ways to protect the pope's health and prolong his life. Masterfully translated from the Italian, this engaging history of the pope's body provides a new perspective for readers to understand the papacy, both historically and in our own time.
Since 1971, the International Congress for Neo-Latin Studies has been organised every three years in various cities in Europe and North America. In August 2009, Uppsala in Sweden was the venue of the fourteenth Neo-Latin conference, held by the International Association for Neo-Latin Studies. The proceedings of the Uppsala conference have been collected in this volume under the motto Litteras et artes nobis traditas excolere Reception and Innovation. Ninety-nine individual and five plenary papers spanning the period from the Renaissance to the present offer a variety of themes covering a range of genres such as history, literature, philology, art history, and religion. The contributions will be of relevance not only for scholarly readers, but also for an interested non-professional audience.
This Book Is A Result Of The Ongoing Activity Centered On Discovering And Understanding The Mythic, Religions, Social And Legal Underpinnings Of The Ancient Indo-European-Speaking Continuum In Terms Of Their Oldest Or Most Archaic Manifestations. Without Dustcover, Spine Slightly Damaged At Bottom, Ex-Libris, Usual Library Stamps And Markings, Text Absolutely Clean, Condition Good.
A collection of letters by Meyerbeer, the operatic composer who died in 1864. Critics have recently re-evaluated his work, recognizing his musical craftmanship, his dramatic sense and his influence on later operatic composers. The editors also edited Letters and Diaries of Meyerbeer.
But these operas are far more than imitations: they show an apprehension of convention and genre that is nothing less than a dismantling of accepted formulas, and a highly original reconstruction of them."--Jacket.
Professor Fulcher argues that French grand opera was a subtly used tool of the state.
Why do so many operas end in suicide, murder, and death? Why do many characters in large-scale operas exhibit neurotic behaviors worthy of psychoanalysis? Why are the legendary grands operas - much celebrated in their time - so seldom performed today?