Visar resultat för..."Meleager"

The Greek Anthology is one of the great books of European literature, `a garden containing the flowers and weeds of 1500 years of Greek epigram'. This study adds a wealth of new information about its growth over an even longer period, from the earliest papyrus anthologies down to the rediscovery in 1606 of the Palatine Anthology (AP), our principal source for the entire history of the Greek epigram, from Simonides to the Byzantine age. It was a Byzantine schoolmaster, Constantine Cephalas, who excerpted all the major ancient collections in about 900. His work is reconstructed in this book from a close analysis of the Palatine Anthology at about 940 and the various later collections. Following a number of neglected clues, Professor Cameron identifies the compiler of AP as Constantine the Rhodian, and solves the mystery of the Manderings of AP during the Renaissance, showing that it once belonged to Sir Thomas More.

The Poems of Meleager highlights the ingenuity and enduring impact of Meleager of Gadara, a master of the Greek epigram who lived during the 2nd and 1st centuries BC. Renowned for his literary artistry, Meleager brought new life to the epigram, transforming it from a formal inscription to a vehicle for personal and emotional expression. His work spans themes of love, loss, and philosophical reflection, with a unique ability to blend traditional motifs with fresh, inventive perspectives. This collection draws heavily from his Garland, a seminal anthology he curated that preserved and elevated the Greek epigram tradition. Meleager’s poetic voice is marked by a dynamic range—at times restrained and simple, at others flamboyant and playful—reflecting his mastery of language and form.This carefully selected edition showcases the breadth of Meleager’s creativity and his influence on subsequent generations of poets, including Roman elegists like Catullus. Through his use of vivid imagery, inventive wordplay, and tonal variety, Meleager’s verses capture timeless themes of human experience, making his work resonate far beyond its Hellenistic context. With insightful commentary and a structure designed to reflect the thematic diversity of his poetry, this volume offers both a rich literary experience and a deeper understanding of Meleager’s lasting legacy in the evolution of lyric and epigrammatic poetry.This title is part of UC Press's Voices Revived program, which commemorates University of California Press’s mission to seek out and cultivate the brightest minds and give them voice, reach, and impact. Drawing on a backlist dating to 1893, Voices Revived makes high-quality, peer-reviewed scholarship accessible once again using print-on-demand technology. This title was originally published in 1975.

This title is part of UC Press's Voices Revived program, which commemorates University of California Press’s mission to seek out and cultivate the brightest minds and give them voice, reach, and impact. Drawing on a backlist dating to 1893, Voices Revived makes high-quality, peer-reviewed scholarship accessible once again using print-on-demand technology. This title was originally published in 1975.

The Poems of Meleager highlights the ingenuity and enduring impact of Meleager of Gadara, a master of the Greek epigram who lived during the 2nd and 1st centuries BC. Renowned for his literary artistry, Meleager brought new life to the epigram, transforming it from a formal inscription to a vehicle for personal and emotional expression. His work spans themes of love, loss, and philosophical reflection, with a unique ability to blend traditional motifs with fresh, inventive perspectives. This collection draws heavily from his Garland, a seminal anthology he curated that preserved and elevated the Greek epigram tradition. Meleager’s poetic voice is marked by a dynamic range—at times restrained and simple, at others flamboyant and playful—reflecting his mastery of language and form.This carefully selected edition showcases the breadth of Meleager’s creativity and his influence on subsequent generations of poets, including Roman elegists like Catullus. Through his use of vivid imagery, inventive wordplay, and tonal variety, Meleager’s verses capture timeless themes of human experience, making his work resonate far beyond its Hellenistic context. With insightful commentary and a structure designed to reflect the thematic diversity of his poetry, this volume offers both a rich literary experience and a deeper understanding of Meleager’s lasting legacy in the evolution of lyric and epigrammatic poetry.This title is part of UC Press's Voices Revived program, which commemorates University of California Press’s mission to seek out and cultivate the brightest minds and give them voice, reach, and impact. Drawing on a backlist dating to 1893, Voices Revived makes high-quality, peer-reviewed scholarship accessible once again using print-on-demand technology. This title was originally published in 1975.

When the dying Alexander the Great was asked to whom he bequeathed his vast empire, he supposedly replied to the strongest". There ensued a long series of struggles between his generals and governors for control of these territories. Most of these Diadochi (Successors) were consummate professionals who had learnt the art of war under Alexander or even his father, Philip. Few died a peaceful death and the last survivors of this tough breed were still leading their armies against each other well into their seventies. Colourful characters, epic battles, treachery and subterfuge make this a period with great appeal to anyone interested in ancient history and ancient warfare in particular. The wars shaped the map from the Balkans to India for the next couple of centuries.This first volume introduces the key personalities - characters such as Antigonos Monopthalmus" (the One-eyed) and his son 'Demetrius 'Poliorcetes' (the Besieger), Seleucus 'Nicator' ('the Victorious') and Ptolemy Soter" ("the Saviour") - and gives a narrative of the causes and course of these wars from the death of Alexander to the Battle of Corupedium (281 BC) when the last two original Diadochi faced each other one final time.

On 11 June 323 BC in Babylon, Alexander the Great breathed his last. He left one of the largest empires the world had seen, stretching from Greece to the Punjab.Alexander the Great’s death in Babylon that fateful day in June 323 BC triggered an unprecedented crisis. Within a couple of days, Macedonian blood had stained the walls of the chamber in which he died. Within a couple of weeks, Babylon had witnessed the first siege of the post Alexander age. Within a couple of months, a major revolt had erupted on mainland Greece. Within a couple of years, theatres of conflict had arisen across the length and breadth of what was once Alexander’s empire.From a Spartan adventurer attempting to forge his own empire in North Africa, to a vast horde of veteran Greek mercenaries heading home from ancient Afghanistan. From a merciless, punitive campaign against some of the most infamous brigands of the time to a warrior princess raising an army and pressing ahead with her own power play during this ancient Game of Thrones. What followed Alexander’s death was an imperial implosion. This book attempts to explain why it happened.

The presentation of bodies in pain has been a major concern in Western art since the time of the Greeks. The Christian tradition is closely entwined with such themes, from the central images of the Passion to the representations of bloody martyrdoms. The remnants of this tradition are evident in contemporary images from Abu Ghraib. In the last forty years, the body in pain has also emerged as a recurring theme in performance art. Recently, authors such as Elaine Scarry, Susan Sontag, and Giorgio Agamben have written about these themes. The scholars in this volume add to the discussion, analyzing representations of pain in art and the media. Their essays are firmly anchored on consideration of the images, not on whatever actual pain the subjects suffered. At issue is representation, before and often apart from events in the world. Part One concerns practices in which the appearance of pain is understood as expressive. Topics discussed include the strange dynamics of faked pain and real pain, contemporary performance art, international photojournalism, surrealism, and Renaissance and Baroque art. Part Two concerns representations that cannot be readily assigned to that genealogy: the Chinese form of execution known as lingchi (popularly the "death of a thousand cuts"), whippings in the Belgian Congo, American lynching photographs, Boer War concentration camp photographs, and recent American capital punishment. These examples do not comprise a single alternate genealogy, but are united by the absence of an intention to represent pain. The book concludes with a roundtable discussion, where the authors discuss the ethical implications of viewing such images.

This lavishly illustrated book brings together, for the first time, all of the different ways in which vase-painting portrays or refers to pederasty, from scenes of courtship, foreplay, and sex, to scenes of Zeus with his boy-love Ganymede, to painted inscriptions praising the beauty of boys. The book shows how painters used the language of vase-painting to cast pederasty in an idealizing light, portraying it as part of a world in which beautiful elite males display praiseworthy attitudes, such as moderation, and engage in approved activities, such as hunting, athletics, and the symposium. The book also incorporates a comprehensive catalogue of relevant vase-paintings, compiled by noted archaeologist Keith DeVries. It is the most comprehensive treatment available of an institution that has few modern parallels.

Epigrams, the briefest of Greek poetic forms, had a strong appeal for readers of the Hellenistic period (323-31 B.C.). One of the most characteristic literary forms of the era, the epigram, unlike any other ancient or classical form of poetry, was not only composed for public recitation but was also collected in books intended for private reading. Brief and concise, concerned with the personal and the particular, the epigram emerged in the Hellenistic period as a sophisticated literary form that evinces the period's aesthetic preference for the miniature, the intricate, and the fragmented. Kathryn Gutzwiller offers the first full-length literary study of these important poems by studying the epigrams within the context of the poetry books in which they were originally collected. Drawing upon ancient sources as well as recent papyrological discoveries, Gutzwiller reconstructs the nature of Hellenistic epigram books and interprets individual poems as if they remained part of their original collections.This approach results in illuminating and original readings of many major poets, and demonstrates that individual epigrammatists were differentiated by gender, ethnicity, class status, and philosophical views. In an important final chapter, Gutzwiller reconstructs much of the poetic structure of Meleager's Garland, an ancient anthology of Hellenistic epigrams.

A gathering of poetic blossoms.The Greek Anthology (literally, “Gathering of Flowers”) is the name given to a collection of about 4500 short Greek poems (called epigrams but usually not epigrammatic) by about 300 composers. To the collection (called Stephanus, literally, “wreath” or “garland”) made and contributed to by Meleager of Gadara (1st century BC) was added another by Philippus of Thessalonica (late 1st century AD), a third by Diogenianus (2nd century), and much later a fourth, called the Circle, by Agathias of Myrina. These (lost) and others (also lost) were partly incorporated, arranged according to contents, by Constantinus Cephalas (early 10th century?) into fifteen books now preserved in a single manuscript of the Palatine Library at Heidelberg. The grand collection was rearranged and revised by the monk Maximus Planudes (14th century) who also added epigrams lost from Cephalas’ compilation.The fifteen books of the Palatine Anthology are: I, Christian Epigrams; II, Descriptions of Statues; III, Inscriptions in a temple at Cyzicus; IV, Prefaces of Meleager, Philippus, and Agathias; V, Amatory Epigrams; VI, Dedicatory; VII, Sepulchral; VIII, Epigrams of St. Gregory; IX, Declamatory; X, Hortatory and Admonitory; XI, Convivial and Satirical; XII, Strato’s “Musa Puerilis”; XIII, Metrical curiosities; XIV, Problems, Riddles, and Oracles; XV, Miscellanies. Book XVI is the Planudean Appendix: Epigrams on works of art.Outstanding among the poets are Meleager, Antipater of Sidon, Crinagoras, Palladas, Agathias, Paulus Silentiarius.

A gathering of poetic blossoms.The Greek Anthology (literally, “Gathering of Flowers”) is the name given to a collection of about 4500 short Greek poems (called epigrams but usually not epigrammatic) by about 300 composers. To the collection (called Stephanus, literally, “wreath” or “garland”) made and contributed to by Meleager of Gadara (1st century BC) was added another by Philippus of Thessalonica (late 1st century AD), a third by Diogenianus (2nd century), and much later a fourth, called the Circle, by Agathias of Myrina. These (lost) and others (also lost) were partly incorporated, arranged according to contents, by Constantinus Cephalas (early 10th century?) into fifteen books now preserved in a single manuscript of the Palatine Library at Heidelberg. The grand collection was rearranged and revised by the monk Maximus Planudes (14th century) who also added epigrams lost from Cephalas’ compilation.The fifteen books of the Palatine Anthology are: I, Christian Epigrams; II, Descriptions of Statues; III, Inscriptions in a temple at Cyzicus; IV, Prefaces of Meleager, Philippus, and Agathias; V, Amatory Epigrams; VI, Dedicatory; VII, Sepulchral; VIII, Epigrams of St. Gregory; IX, Declamatory; X, Hortatory and Admonitory; XI, Convivial and Satirical; XII, Strato’s “Musa Puerilis”; XIII, Metrical curiosities; XIV, Problems, Riddles, and Oracles; XV, Miscellanies. Book XVI is the Planudean Appendix: Epigrams on works of art.Outstanding among the poets are Meleager, Antipater of Sidon, Crinagoras, Palladas, Agathias, Paulus Silentiarius.

A gathering of poetic blossoms.The Greek Anthology (literally, “Gathering of Flowers”) is the name given to a collection of about 4500 short Greek poems (called epigrams but usually not epigrammatic) by about 300 composers. To the collection (called Stephanus, literally, “wreath” or “garland”) made and contributed to by Meleager of Gadara (1st century BC) was added another by Philippus of Thessalonica (late 1st century AD), a third by Diogenianus (2nd century), and much later a fourth, called the Circle, by Agathias of Myrina. These (lost) and others (also lost) were partly incorporated, arranged according to contents, by Constantinus Cephalas (early 10th century?) into fifteen books now preserved in a single manuscript of the Palatine Library at Heidelberg. The grand collection was rearranged and revised by the monk Maximus Planudes (14th century) who also added epigrams lost from Cephalas’ compilation.The fifteen books of the Palatine Anthology are: I, Christian Epigrams; II, Descriptions of Statues; III, Inscriptions in a temple at Cyzicus; IV, Prefaces of Meleager, Philippus, and Agathias; V, Amatory Epigrams; VI, Dedicatory; VII, Sepulchral; VIII, Epigrams of St. Gregory; IX, Declamatory; X, Hortatory and Admonitory; XI, Convivial and Satirical; XII, Strato’s “Musa Puerilis”; XIII, Metrical curiosities; XIV, Problems, Riddles, and Oracles; XV, Miscellanies. Book XVI is the Planudean Appendix: Epigrams on works of art.Outstanding among the poets are Meleager, Antipater of Sidon, Crinagoras, Palladas, Agathias, Paulus Silentiarius.

A gathering of poetic blossoms.The Greek Anthology (literally, “Gathering of Flowers”) is the name given to a collection of about 4500 short Greek poems (called epigrams but usually not epigrammatic) by about 300 composers. To the collection (called Stephanus, literally, “wreath” or “garland”) made and contributed to by Meleager of Gadara (1st century BC) was added another by Philippus of Thessalonica (late 1st century AD), a third by Diogenianus (2nd century), and much later a fourth, called the Circle, by Agathias of Myrina. These (lost) and others (also lost) were partly incorporated, arranged according to contents, by Constantinus Cephalas (early 10th century?) into fifteen books now preserved in a single manuscript of the Palatine Library at Heidelberg. The grand collection was rearranged and revised by the monk Maximus Planudes (14th century) who also added epigrams lost from Cephalas’ compilation.The fifteen books of the Palatine Anthology are: I, Christian Epigrams; II, Descriptions of Statues; III, Inscriptions in a temple at Cyzicus; IV, Prefaces of Meleager, Philippus, and Agathias; V, Amatory Epigrams; VI, Dedicatory; VII, Sepulchral; VIII, Epigrams of St. Gregory; IX, Declamatory; X, Hortatory and Admonitory; XI, Convivial and Satirical; XII, Strato’s “Musa Puerilis”; XIII, Metrical curiosities; XIV, Problems, Riddles, and Oracles; XV, Miscellanies. Book XVI is the Planudean Appendix: Epigrams on works of art.Outstanding among the poets are Meleager, Antipater of Sidon, Crinagoras, Palladas, Agathias, Paulus Silentiarius.