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Virgil became a school author in his own lifetime and the centre of the Western canon for the next 1800 years, exerting a major influence on European literature, art, and politics. This Companion is designed as an indispensable guide for anyone seeking a fuller understanding of an author critical to so many disciplines. It consists of essays by seventeen scholars from Britain, the USA, Ireland and Italy which offer a range of different perspectives both traditional and innovative on Virgil's works, and a renewed sense of why Virgil matters today. The Companion is divided into four main sections, focussing on reception, genre, context, and form. This ground-breaking book not only provides a wealth of material for an informed reading but also offers sophisticated insights which point to the shape of Virgilian scholarship and criticism to come.
What was it like to have C. S. Lewis as a teacher? Most people know C. S. Lewis through his writings, but in his lifetime he was first and foremost a teacher. Now those who were influenced by what they learned from his teaching offer a unique view of one of the most influential Christian writers of all time. What was it like to study under C. S. Lewis when he taught at Oxford and Cambridge? How did his influence and teaching create a legacy that has influenced educators since? C. S. Lewis Remembered is a collection of interviews and essays that offer personal perspectives on Lewis the teacher and Lewis the man. These recollections portray him in all his humanity: both the irascibility and the brilliance, both the ferocity of his intellectual precision and the eagerness of his curiosity. Some of this book’s contributors chose to study with Lewis because of his Christian faith. Others admired him as a scholar but never shared Lewis’s interest in religion. Still others shared his “mere Christianity” but differed with him over his Protestantism. But all of them came into contact with Lewis when they were young adults, whether they were students, colleagues, or those who knew him informally as a teacher. Many of them followed in his footsteps and became educators as well. Former students such as W. Brown Patterson, Peter Milward, and Peter Bayley talk about what it was like to study under Lewis. A recent lecture by Walter Hooper and essays by such noted scholars as Barbara Reynolds offer additional insight on Lewis and his influence. Also included are pieces by Lewis’s godson, Lawrence Harwood; a transcript of an interview with Owen Barfield, a friend who knew Lewis from the time Lewis returned to Oxford after World War I and who played an important role in Lewis’s shift from atheism to belief in God; and a hitherto unpublished sketch of Lewis by Mary Shelley Neylan. In addition, an article that appeared in SF Horizons, a magazine for science fiction fans, offers a transcript of a taped conversation between C. S. Lewis, Kingsley Amis, and Brian Aldiss.
Remembered Words is a selection of Alastair Fowler's essays on genre, realism, and the emblem (three interrelated subjects), published over six decades. It offers readers a way to arrive at a sense of how approaches to these subjects have changed over that period. Specifically, it shows how genre has come to be understood in terms of family resemblance theory. Remembered Words argues that realism can be seen as altering historically, so that Renaissance realism, for example, differs from those of later periods. Similar changes are traced in the emblem, which Fowler shows to be not only a particular genre, but an element of various kinds of realism. Famous passages in ancient literature are remembered in the familiar emblems of the Renaissance; and Renaissance emblems form the basis of metaphors in later literature. Meanwhile, the general approach of the critic and the reader has been altering over the years--as becomes evident when one takes into account the time-scale of sixty years (an unusually long working life for a critic). Modern theoretical approaches--which are often casually regarded as self-evident--may appear less inevitable and more arbitrary. This is not to say that they are necessarily wrong, just that they need to be argued for. Remembered Words is intended for senior undergraduates and for graduate students, who may use it to form ideas of Fowler's approach and that of his contemporaries and predecessors over the last half century.
In the field of classical studies, the psychoanalytic construction of the unconscious is rarely regarded as a fruitful methodological concept. Commonly understood as a modern conceptual invention rather than the discovery of a psychic reality, the notion of the unconscious is often criticized as an anachronistic lens, one that ineluctably subjects ancient experience to modern patterns of thought. The Ancient Unconscious seeks to challenge this ambivalent theoretical disposition toward the psychoanalytic concept and reclaim the value of the unconscious as a methodological tool for the study of ancient texts by transforming our understanding of what the unconscious means, the way it operates, and how it relates to textual hermeneutics. It considers the debate over whether the ancients had an unconscious as an invitation to rethink the relationship between antiquity and modernity, investigating the meaning of textuality through contact between historical moments that have no priority under the law of chronology: associations and connections between the past and its future - including the present - belong to the sphere of the unconscious, which is primarily employed here in order to study the inherent, often hidden, links that bind modernity to classical antiquity and modern to ancient experiences. Drawing on an incisive examination of the complicated, often conflicted, relationship between classical studies and psychoanalytic theory, the volume aims to explain why the concept of the unconscious is in fact inseparable from, and crucial for, the study of the ancient text and, more generally, the methodology of classical philology.
Presents stimulating chapters on Virgil and his reception, offering an authoritative overview of the current state of Virgilian studies.
Virgil's book of bucolic verse, the Eclogues, defines a green space separate from the outside worlds both of other Roman verse and of the real world of his audience. However, the boundaries between inside and outside are deliberately porous. The bucolic natives are aware of the presence of Rome, and Virgil himself is free to enter their world. Virgil's bucolic space is, in many ways, a poetic replication of the public and private gardens of his Roman audience - enclosed green spaces which afforded the citizen sheltered social and cultural activities, temporary respite from the turbulence of public life, and a tamed landscape in which to play out the tensions between the simple ideal and the complexities of reality. This book examines the Eclogues in terms of the relationship between its contents and its cultural context, making connections between the Eclogues and the representational modes of Roman art, Roman concepts of space and landscape, and Roman gardens.
This volume, together with its companion on the Georgics and the previously published volume on the Aeneid, completes the coverage of Vergil's poetry in Oxford Readings in Classical Studies. It collects ten classic papers on the Eclogues written between 1970 and 1999 by leading scholars from several different countries. The contributions are representative of recent developments in Vergilian scholarship, with some discussing general issues raised by the work and others treating important individual poems and passages. The editor's introduction places the essays in their context. A conspectus of contemporary Eclogues criticism, the book will be helpful to students who are encountering the poems for the first time - all Latin has been translated - and will also serve as a reference work for more seasoned scholars.
Identifies and explores Roman modes of poetry as received by twentieth- and twenty-first-century Anglo-American, German, and French poets.
Dubbed 'the English Virgil' in his own lifetime, Spenser has been compared to the Augustan laureate ever since. He invited the comparison, expecting a readership intimately familiar with Virgil's works to notice and interpret his rich web of allusion and imitation, but also his significant departures and transformations.This volume considers Spenser's pastoral poetry, the genre which announces the inception of a Virgilian career in The Shepheardes Calender, and to which he returns in Colin Clouts Come Home Againe, throwing the 'Virgilian career' into reverse. His sustained dialogue with Virgil's Eclogues bewrays at once a profound debt to Virgil and a deep-seated unease with his values and priorities, not least his subordination of pastoral to epic.Drawing on the commentary tradition and engaging with current critical debates, this study of Spenser's interpretation, imitation and revision of Virgil casts new light on both poets-and on the genre of pastoral itself.