Emily Gowers – författare

A free ebook version of this title is available through Luminos, University of California Press’s Open Access publishing program. Visit www.luminosoa.org to learn more.Why are the small and unimportant relics of Roman antiquity often the most enduring, in material form and in our affections? Through close encounters with minor things such as insects, brief lives, quibbles, irritants, and jokes, Emily Gowers provocatively argues that much of what the Romans dismissed as superfluous or peripheral in fact took up immense imaginative space. It was often through the small stuff that the Romans most acutely probed and challenged their society’s overarching values and priorities and its sense of proportion and justice. There is much to learn from what didn’t or shouldn’t matter. By marking the spots where the apparently pointless becomes significant, this book radically adjusts our understanding of the Romans and their world, as well as our own minor feelings and intimate preoccupations.

Horace's first book of Satires is his debut work, a document of one man's self-fashioning on the cusp between republic and empire, and a pivotal text in the history of Roman satire. It wrestles with the problem of how to define and assimilate satire and justifies the poet's own position in a suspicious society. The commentary gives full weight to the dense texture of these poems while helping readers interpret their most cryptic aspects and appreciate their technical finesse. The introduction puts Horace in context as late-Republican newcomer and a vital figure in the development of satire, and discusses the structure and meaning of Satires I, literary and philosophical influences, style, metre, transmission and Horace's rich afterlife. Each poem is followed by an essay offering overall interpretation. This work is designed for upper-level students and scholars of classics but contains much of interest to specialists in later European literature.

Horace's first book of Satires is his debut work, a document of one man's self-fashioning on the cusp between republic and empire, and a pivotal text in the history of Roman satire. It wrestles with the problem of how to define and assimilate satire and justifies the poet's own position in a suspicious society. The commentary gives full weight to the dense texture of these poems while helping readers interpret their most cryptic aspects and appreciate their technical finesse. The introduction puts Horace in context as late-Republican newcomer and a vital figure in the development of satire, and discusses the structure and meaning of Satires I, literary and philosophical influences, style, metre, transmission and Horace's rich afterlife. Each poem is followed by an essay offering overall interpretation. This work is designed for upper-level students and scholars of classics but contains much of interest to specialists in later European literature.

The story of Maecenas and his role in the evolution and continuing legacy of ancient Roman poetry and cultureAn unelected statesman with exceptional powers, a patron of the arts and a luxury-loving friend of the emperor Augustus: Maecenas was one of the most prominent and distinctive personalities of ancient Rome. Yet the traces he left behind are unreliable and tantalizingly scarce. Rather than attempting a conventional biography, Emily Gowers shows in Rome’s Patron that it is possible to tell a different story, one about Maecenas’s influence, his changing identities and the many narratives attached to him across two millennia.Rome’s Patron explores Maecenas’s appearances in the central works of Augustan poetry written in his name—Virgil’s Georgics, Horace’s Odes and Propertius’s elegies—and in later works of Latin literature that reassess his influence. For the Roman poets he supported, Maecenas was a mascot of cultural flexibility and innovation, a pioneer of gender fluidity and a bearer of imperial demands who could be exposed as a secret sympathizer with their own values. For those excluded from his circle, he represented either favouritism and indulgence or the lost ideal of a patron in perfect collaboration with the authors he championed.As Gowers shows, Maecenas had and continues to have a unique cachet—in the fantasies that still surround the gardens, buildings and objects so tenuously associated with him; in literature, from Ariosto and Ben Johnson to Phillis Wheatley and W. B. Yeats; and in philanthropy, where his name has been surprisingly adaptable to more democratic forms of patronage.