Ineke Sluiter – författare

Greek tragedy parades, tests, stimulates, and upends human cognition. Characters plot deception, try to fathom elusive gods, and fail to recognise loved ones. Spectators observe the characters' cognitive limitations and contemplate their own, grapple with moral quandaries and emotional breakdown, overlay mythical past and topical present, and all the while imagine that a man with a mask is Helen of Troy. With broad coverage of both plays and cognitive capabilities, Minds on Stage pursues a dual aim: to expand our understanding of Greek tragedy and to use Greek tragedy as a focal point for exploring cognitive thinking about literature.After an introduction that considers questions of methodology, the volume is divided into three parts. Part One examines the dynamics of mind-reading by characters and audience, with articles on Aeschylus, Sophocles, and Euripides. The chapters in Part Two study aspects of the characters' cognitive sense-making, from individual styles of attributing causes and different manners of remembering, to the use of objects as tools for thinking. Finally, Part Three turns to the cognitive dimension of spectating. The articles treat the spectators' generic expectations and different modes of engagement with the fictional worlds of the plays, the joint nature of their attention to the drama, the nexus between aesthetic illusion and the ethics of deception, as well as the situated nature of cognition that helps both audiences and characters make sense of morally complex situations.

Greek tragedy parades, tests, stimulates, and upends human cognition. Characters plot deception, try to fathom elusive gods, and fail to recognise loved ones. Spectators observe the characters'' cognitive limitations and contemplate their own, grapple with moral quandaries and emotional breakdown, overlay mythical past and topical present, and all the while imagine that a man with a mask is Helen of Troy. With broad coverage of both plays and cognitive capabilities, Minds on Stage pursues a dual aim: to expand our understanding of Greek tragedy and to use Greek tragedy as a focal point for exploring cognitive thinking about literature.After an introduction that considers questions of methodology, the volume is divided into three parts. Part One examines the dynamics of mind-reading by characters and audience, with articles on Aeschylus, Sophocles, and Euripides. The chapters in Part Two study aspects of the characters'' cognitive sense-making, from individual styles of attributing causes and different manners of remembering, to the use of objects as tools for thinking. Finally, Part Three turns to the cognitive dimension of spectating. The articles treat the spectators'' generic expectations and different modes of engagement with the fictional worlds of the plays, the joint nature of their attention to the drama, the nexus between aesthetic illusion and the ethics of deception, as well as the situated nature of cognition that helps both audiences and characters make sense of morally complex situations.

Greek tragedy parades, tests, stimulates, and upends human cognition. Characters plot deception, try to fathom elusive gods, and fail to recognise loved ones. Spectators observe the characters'' cognitive limitations and contemplate their own, grapple with moral quandaries and emotional breakdown, overlay mythical past and topical present, and all the while imagine that a man with a mask is Helen of Troy. With broad coverage of both plays and cognitive capabilities,Minds on Stage pursues a dual aim: to expand our understanding of Greek tragedy and to use Greek tragedy as a focal point for exploring cognitive thinking about literature.After an introduction that considers questions of methodology, the volume is divided into three parts. Part One examines the dynamics of mind-reading by characters and audience, with articles on Aeschylus, Sophocles, and Euripides. The chapters in Part Two study aspects of the characters'' cognitive sense-making, from individual styles of attributing causes and different manners of remembering, to the use of objects as tools for thinking. Finally, Part Three turns to the cognitive dimension ofspectating. The articles treat the spectators'' generic expectations and different modes of engagement with the fictional worlds of the plays, the joint nature of their attention to the drama, the nexus between aesthetic illusion and the ethics of deception, as well as the situated nature of cognitionthat helps both audiences and characters make sense of morally complex situations.

Medieval Grammar and Rhetoric: Language Arts and Literary Theory, AD 300-1475 contributes to two fields, the history of the language arts and the history of literary theory. It brings together essential sources in the disciplines of grammar and rhetoric which were used to understand literary form and language and teach literary composition. Grammar and rhetoric, the language disciplines, formed the basis of any education from antiquity through the Middle Ages, no matter what future career a student would want to pursue. Because literature was also the subject matter of grammatical teaching, and because rhetorical teaching gave great attention to literary form, these were also the disciplines that would prepare students for an understanding of literary language and form. These arts constituted the abiding theoretical toolbox for anyone engaged in a life of letters.The book brings together more than fifty primary texts from the medieval history of grammar and rhetoric, well over half of them never translated into English before. The volume establishes the ancient traditions on which the medieval arts are based, and gives substantial selections from the late antique source texts. All texts are presented in their historical and theoretical contexts, and carefully annotated in order to make them useful to readers, both specialists and non-specialists. For the first time, the long traditions of grammar and rhetoric are presented together in one historical survey, showing how they related to each other, and are placed in a coherent conceptual structure, their contributions to literary theory.

Medieval Grammar and Rhetoric: Language Arts and Literary Theory, AD 300-1475 contributes to two fields, the history of the language arts and the history of literary theory. It brings together essential sources in the disciplines of grammar and rhetoric which were used to understand literary form and language and teach literary composition. Grammar and rhetoric, the language disciplines, formed the basis of any education from antiquity through the Middle Ages, no matter what future career a student would want to pursue. Because literature was also the subject matter of grammatical teaching, and because rhetorical teaching gave great attention to literary form, these were also the disciplines that would prepare students for an understanding of literary language and form. These arts constituted the abiding theoretical toolbox for anyone engaged in a life of letters.The book brings together more than fifty primary texts from the medieval history of grammar and rhetoric, well over half of them never translated into English before. The volume establishes the ancient traditions on which the medieval arts are based, and gives substantial selections from the late antique source texts. All texts are presented in their historical and theoretical contexts, and carefully annotated in order to make them useful to readers, both specialists and non-specialists. For the first time, the long traditions of grammar and rhetoric are presented together in one historical survey, showing how they related to each other, and are placed in a coherent conceptual structure, their contributions to literary theory.

This volume examines the use of a central concept in the self-definition of any Greek speaking male: Andreia, the notion of courage and manliness. The nature and use of value terms quickly leads the researcher to core issues of cultural identity: through a combination of lexical or semantic and conceptual studies the discourse of manliness and its role in the construction of social order is studied, in a variety of authors, genres, and communicative situations.This book is of interest to students of the classical world, the history of values, gender studies, and cultural historians.

The fourth in a series that explores cultural and ethical values in Classical Antiquity, this volume examines the negative foils, the anti-values, against which positive value notions are conceptualized and calibrated in Classical Antiquity. Eighteen chapters address this theme from different perspectives –historical, literary, legal and philosophical. What makes someone into a prototypically ‘bad’ citizen? Or an abomination of a scholar? What is the relationship between ugliness and value? How do icons of sexual perversion, monstruous emperors and detestable habits function in philosophical and rhetorical prose?The book illuminates the many rhetorical manifestations of the concept of ‘badness’ in classical antiquity in a variety of domains.

How does a discourse of ‘valuing others’ help to make a group a group? The fifth in a series exploring ‘ancient values’, this book investigates what value terms and evaluative concepts were used in Greece and Rome to articulate the idea that people ‘belong together’, as a family, a group, a polis, a community, or just as fellow human beings. Human communities thrive on prosocial behavior. In eighteen chapters, ranging from Greek tragedy to the Roman gladiators and from house architecture to the concept of friendship, this book demonstrates how such behavior is anchored and promoted by culturally specific expressions of evaluative discourse.Valuing others in classical antiquity should be of interest to linguists, literary scholars, historians, and philosophers alike.