Jan M. Ziolkowski – författare

When did fairy tales begin? What qualifies as a fairy tale? Is a true fairy tale oral or literary? Or is a fairy tale determined not by style but by content? To answer these and other questions, Jan M. Ziolkowski not only provides a comprehensive overview of the theoretical debates about fairy tale origins but includes an extensive discussion of the relationship of the fairy tale to both the written and oral sources. Ziolkowski offers interpretations of a sampling of the tales in order to sketch the complex connections that existed in the Middle Ages between oral folktales and their written equivalents, the variety of uses to which the writers applied the stories, and the diverse relationships between the medieval texts and the expressions of the same tales in the "classic" fairy tale collections of the nineteenth century. In so doing, Ziolkowski explores stories that survive in both versions associated with, on the one hand, such standards of the nineteenth-century fairy tale as the Brothers Grimm, Hans Christian Andersen, and Carlo Collodi and, on the other, medieval Latin, demonstrating that the literary fairy tale owes a great debt to the Latin literature of the medieval period.

  Jan M. Ziolkowski is the Arthur Kingsley Porter Professor of Medieval Latin at Harvard University.

When did fairy tales begin? What qualifies as a fairy tale? Is a true fairy tale oral or literary? Or is a fairy tale determined not by style but by content? To answer these and other questions, Jan M. Ziolkowski not only provides a comprehensive overview of the theoretical debates about fairy tale origins but includes an extensive discussion of the relationship of the fairy tale to both the written and oral sources. Ziolkowski offers interpretations of a sampling of the tales in order to sketch the complex connections that existed in the Middle Ages between oral folktales and their written equivalents, the variety of uses to which the writers applied the stories, and the diverse relationships between the medieval texts and the expressions of the same tales in the "classic" fairy tale collections of the nineteenth century. In so doing, Ziolkowski explores stories that survive in both versions associated with, on the one hand, such standards of the nineteenth-century fairy tale as the Brothers Grimm, Hans Christian Andersen, and Carlo Collodi and, on the other, medieval Latin, demonstrating that the literary fairy tale owes a great debt to the Latin literature of the medieval period. Jan M. Ziolkowski is the Arthur Kingsley Porter Professor of Medieval Latin at Harvard University.

Composed in Germany by a monastic poet steeped in classical lore and letters, the Satires of Amarcius (Sextus Amarcius Gallus Piosistratus) unrelentingly attack both secular vices and ecclesiastical abuses of the late eleventh century. The verses echo Horace and Prudentius, are laced with proverbs and polemic, and portray vividly aspects of contemporary life—the foppery of young nobles, the vainglory of the nouveaux riches, the fastidiousness of debauched gluttons. This is the first English translation of the Satires.The Eupolemius is a late-eleventh-century Latin epic that recasts salvation history, from Lucifer’s fall through Christ’s resurrection. The poem fuses Greek and Hebrew components within a uniquely medieval framework. At once biblical, heroic, and allegorical, it complements the so-called Bible epics in Latin from late antiquity and the refashionings of biblical narrative in Old English verse. It emulates classical Latin epics by Virgil, Lucan, and Statius and responds creatively to the foundational personification allegory by the Christian poet Prudentius. The poem was composed by an anonymous German monk, possibly the author who used the pseudonym Amarcius. Although it focuses on events of both the Hebrew Bible and New Testament, it is also rooted in its own momentous times.

The Cambridge Songs, from the Latin Carmina Cantabrigiensia, is the most important anthology of songs from before the thirteenth-century Carmina Burana. It offers the only major surviving anthology of Latin lyric poems from between Charlemagne and the Battle of Hastings. It contains panegyrics and dirges, political poems, comic tales, religious and didactic poems, and poetry of spring and love. Was it a school book for students, or a songbook for the use of professional entertainers? The greatest certainty is that the poems were composed in the learned language, and that they were associated with song. The collection is like the contents of an eleventh-century jukebox or playlist of top hits from more than three centuries.This edition and translation comprises a substantial introduction, the Latin texts and English prose in carefully matched presentation, and extensive commentary, along with appendices, list of works cited, and indices.

The Latin prose Solomon and Marcolf, enigmatic in origins, has been a puzzle from long before the sixteenth-century French author François Rabelais through the twentieth-century Russian critic Bakhtin to today. Though often called a dialogue, the second of its two parts comprises a rudimentary novel with twenty episodes. In 2009 the "original" received at last an edition and translation with commentary as the first volume in the Harvard Studies in Medieval Latin series. Solomon and Marcolf: Vernacular Traditions, the fourth volume in the series, displays the mysteries of the tradition. Solomon relates to the biblical king, but did Marcolf originate in Germanic or Eastern regions? Here lovers of literature and folklore may explore, in English for the first time, relevant texts, from the twelfth through the early eighteenth century. These astonishingly varied and fascinating pieces, from Iceland in the North and West through Russia in the East and Italy in the South, have been translated from medieval and early modern French, Russian, German, Icelandic, Danish, and Italian. The book opens with snapshots of two nineteenth-century polymaths, the Englishman John M. Kemble and Russian Aleksandr Veselovskii, whose hypotheses can now be evaluated. An appendix documents awareness of Solomon and Marcolf in late medieval and early modern times.

The Latin prose Solomon and Marcolf, enigmatic in origins, has been a puzzle from long before the sixteenth-century French author François Rabelais through the twentieth-century Russian critic Bakhtin to today. Though often called a dialogue, the second of its two parts comprises a rudimentary novel with twenty episodes. In 2009 the "original" received at last an edition and translation with commentary as the first volume in the Harvard Studies in Medieval Latin series. Solomon and Marcolf: Vernacular Traditions, the fourth volume in the series, displays the mysteries of the tradition. Solomon relates to the biblical king, but did Marcolf originate in Germanic or Eastern regions? Here lovers of literature and folklore may explore, in English for the first time, relevant texts, from the twelfth through the early eighteenth century. These astonishingly varied and fascinating pieces, from Iceland in the North and West through Russia in the East and Italy in the South, have been translated from medieval and early modern French, Russian, German, Icelandic, Danish, and Italian. The book opens with snapshots of two nineteenth-century polymaths, the Englishman John M. Kemble and Russian Aleksandr Veselovskii, whose hypotheses can now be evaluated. An appendix documents awareness of Solomon and Marcolf in late medieval and early modern times.

This volume includes: Olga Levaniouk, “The Dreams of Barčin and Penelope”; Paul K. Hosle, “Bacchylides’ Theseus and Vergil’s Aristaeus”; Vayos Liapis, “Arion and the Dolphin: Apollo Delphinios and Maritime Networks in Herodotus”; Nino Luraghi, “The Peloponnesian Peace: Herodotus, Thucydides, and the Ideology of the Peace of Nikias”; Andrea Capra, “The Staging and Meaning of Aristophanes’ Assemblywomen”; Konstantine Panegyres, “Moses, Pharaoh, and the Waters of the Nile: Artapanus FGrHist 726 F 3”; Roy D. Kotansky, “Underworld and Celestial Eschatologies in the ‘Orphic’ Gold Leaves”; Vittorio Remo Danovi, “New Citations from the Libri Etruscorum and Varro in Vergilian Scholia”; T. H. M. Gellar-Goad, “Tears and Personified Nature in Juvenal 15.131–140 and Lucretius 3.931–962”; Tristan Power, “Textual Conjectures on Catullus 55.9-12”; Francesco Rotiroti, “From Beneficent God to Maddened Bull: The Shepherd of Men in the Works of Virgil”; J. S. C. Eidinow, “The Critic and the Farmer: Horace, Maecenas, and Virgil in Horace Carm. 1.1”; Shirley Werner, “The Rules of the Game: Imitation and Mimesis in Horace Epistles 1.19”; Francis Newton, “Ovid Met. 1: Jupiter’s Plebeians, the Titles of Augustus, and the Poet’s Exile”; Simona Martorana, “Omission and Allusion: When Statius’ Hypsipyle Reads Ovid’s Heroides 6”; Michael Zellmann-Rohrer, “The Chronokratores in Greek Astrology, in Light of a New Papyrus Text: Oxford, Bodl. MS Gr. Class. B 24 (P) 1–2”; Konstantine Panegyres, “ΒΟΜΒΟΣ: Heliodorus Aethiopica 9.17.1”; Andrew C. Johnston, “Aemilius and the Crown: Rome and the Hellenistic World of the Alexander Romance.”

This volume includes: Andrew Merritt, “ἔρυμαι and ἐρύκω”; Georgios Kostopoulos, “Vowel Lengthening in Attic Primary Comparatives”; Christian Vassallo, “Xenophanes on the Soul: Another Chapter of Ancient Physics”; Guy Westwood, “Making a Martyr: Demosthenes and Euphraeus of Oreus (Third Philippic 59–62)”; Peter Osorio, “Trust and Persuasion: Testimony in [Plato], Demodocus”; James J. Clauss and Scott B. Noegel, “Near Eastern Poetics in Callimachus’s Hymn to Apollo”; Robert Cowan, “Ucalegon and the Gauls: Aeneid 2 and the Hymn to Delos Revisited”; Christoph Begass, “Aktia and Isaktioi Agones: Greek Contests and Roman Power”; and Chiara Meccariello, “Myth and Actuality at the School of Rhetoric: The Encomium on the Flower of Antinous in Its Cultural and Performative Context.”

This volume of Harvard Studies in Classical Philology includes: Eric Cullhed, “Odysseus’s Tears on Scheria and the Meaning of (Heroic) Life”; Ruobing Xian, “Narrative Design and Doublets: Democedes in Herodotus’s Histories”; Daniel Sutton, “Aristotle’s Rhetoric 2.20 and Thucydides 1.22.4”; Adalberto Magnavacca, “The Maiden and Her Words: Cicero Carmina Fr. 10 Blänsdorf Reconsidered”; K. F. B. Fletcher, “Hyginus Fabulae 220 (Cura): How Two Textual Issues Have Changed the Meaning of a Myth and Affected its Modern Reception”; Maxwell Hardy, “Emendationes Tibullianae II”; Giulio Celotto, “Persius’s Didactic Satire: Allusions to Vergil’s Georgics in Satires 1, 3, and 5”; Julia Hejduk, “The Solace of Evil: Punctuation and Paradox in Lucan BC 7.180–184”; Gary Vos, “Sex and Suffering: A New Acrostic and the Interpretation of Carmina Priapea 63”; Julia Mebane, “The Return of Viriathus: A Counterfactual History of the Iberian Wars in Punica 10.”

The first English translation of the earliest Latin poems about miracles performed by the Virgin Mary, composed in twelfth-century Canterbury by a Benedictine monk who inspired Chaucer.Nigel (ca. 1135–1198), a Benedictine monk at Christ Church in Canterbury, is best known for The Mirror of Fools—a popular satire whose hero Burnellus the Ass is referenced in Chaucer’s Canterbury Tales. Nigel’s oeuvre also includes other important poems and hagiography.The Miracles of the Virgin is the oldest Latin poem about miracles performed by Mary. This collection features seventeen lively tales in which the Virgin rescues a disappointed administrator from a pact with the devil, has a Roman emperor killed by a long-dead martyr, saves a Jewish boy from being burned alive, and shields an abbess from the shame of pregnancy. Each story illustrates the boundlessness of Mary’s mercy. In the Tract on Abuses, a letter that resembles a religious pamphlet, Nigel rails against ecclesiastical corruption and worldly entanglements.Alongside authoritative editions of the Latin texts, this volume offers the first translations of both works into English.

In antiquity and the Middle Ages, memory was a craft, and certain actions and tools were thought to be necessary for its creation and recollection. Until now, however, many of the most important visual and textual sources on the topic have remained untranslated or otherwise difficult to consult. Mary Carruthers and Jan M. Ziolkowski bring together the texts and visual images from the twelfth through the fifteenth centuries that are central to an understanding of memory and memory technique. These sources are now made available for a wider audience of students of medieval and early modern history and culture and readers with an interest in memory, mnemonics, and the synergy of text and image.The art of memory was most importantly associated in the Middle Ages with composition, and those who practiced the craft used it to make new prayers, sermons, pictures, and music. The mixing of visual and verbal media was commonplace throughout medieval cultures: pictures contained visual puns, words were often verbal paintings, and both were used equally as tools for making thoughts. The ability to create pictures in one's own mind was essential to medieval cognitive technique and imagination, and the intensely pictorial and affective qualities of medieval art and literature were generative, creative devices in themselves.

This book is a volume in the Penn Press Anniversary Collection. To mark its 125th anniversary in 2015, the University of Pennsylvania Press rereleased more than 1,100 titles from Penn Press's distinguished backlist from 1899-1999 that had fallen out of print. Spanning an entire century, the Anniversary Collection offers peer-reviewed scholarship in a wide range of subject areas.

In antiquity and the Middle Ages, memory was a craft, and certain actions and tools were thought to be necessary for its creation and recollection. Until now, however, many of the most important visual and textual sources on the topic have remained untranslated or otherwise difficult to consult. Mary Carruthers and Jan M. Ziolkowski bring together the texts and visual images from the twelfth through the fifteenth centuries that are central to an understanding of memory and memory technique. These sources are now made available for a wider audience of students of medieval and early modern history and culture and readers with an interest in memory, mnemonics, and the synergy of text and image.The art of memory was most importantly associated in the Middle Ages with composition, and those who practiced the craft used it to make new prayers, sermons, pictures, and music. The mixing of visual and verbal media was commonplace throughout medieval cultures: pictures contained visual puns, words were often verbal paintings, and both were used equally as tools for making thoughts. The ability to create pictures in one's own mind was essential to medieval cognitive technique and imagination, and the intensely pictorial and affective qualities of medieval art and literature were generative, creative devices in themselves.

Dag Norberg's analysis and interpretation of medieval Latin versification, which was published in French in 1958 and remains the standard work on the subject, appears in English with a detailed, scholarly introduction by Jan Ziolkowski that reviews developments since its initial publication. Norberg examines various themes of medieval Latin metrics and proposes his own empirical solutions. His interpretation attempts to bring much-needed clarification to a controversial and misunderstood subject. In the first four chapters of the book, Norberg analyses the sometimes perplexing technical elements of medieval Latin metrics: prosody; accentuation; synaeresis; diaresis; prosthesis; elision; acrostics; assonance; rhyme; and alliteration. He then turns to some of the metrical devices of the poetry: acrostics and carmina figurata (shaped songs). Two chapters unravel the problems of quantitative and rhythmic verses. Two chapters are devoted to the fractious disputes among scholars over rhythmic verses, which are based on the stress accents of the words. Norberg evaluates the various theories and judiciously examines this area of Latin scholarship. The final two chapters discuss the relationship between music and poetry, considering such questions as, which was written first, the melody or the words? How can we tell? What is the origin of rhythmic poetry? Beginning with the earliest hymns of Augustine and Ambrose, he considers syllabic melodies and then the development of non-syllabic melodies. In the last chapter Norberg deals with the ""poetry in liturgical prose"" of the Christian religious service, a ""poetry"" borrowed from the Bible or based on biblical models.

Dante put Muhammad in one of the lowest circles of Hell. At the same time, the medieval Christian poet placed several Islamic philosophers much more honorably in Limbo. Furthermore, it has long been suggested that for much of the basic framework of the Divine Comedy Dante was indebted to apocryphal traditions about a "night journey" taken by Muhammad.Dante scholars have increasingly returned to the question of Islam to explore the often surprising encounters among religious traditions that the Middle Ages afforded. This collection of essays works through what was known of the Qur'an and of Islamic philosophy and science in Dante's day and explores the bases for Dante's images of Muhammad and Ali. It further compels us to look at key instances of engagement among Muslims, Jews, and Christians.

Dante put Muhammad in one of the lowest circles of Hell. At the same time, the medieval Christian poet placed several Islamic philosophers much more honorably in Limbo. Furthermore, it has long been suggested that for much of the basic framework of the Divine Comedy Dante was indebted to apocryphal traditions about a "night journey" taken by Muhammad.Dante scholars have increasingly returned to the question of Islam to explore the often surprising encounters among religious traditions that the Middle Ages afforded. This collection of essays works through what was known of the Qur'an and of Islamic philosophy and science in Dante's day and explores the bases for Dante's images of Muhammad and Ali. It further compels us to look at key instances of engagement among Muslims, Jews, and Christians.

This book brings into print editions, translations, and commentaries for more than two dozen unique poems (in Latin) from the late eleventh and early twelfth century, preserved in Houghton Library's anthology known as MS Lat 300. This book offers unparalleled access to the anthology, previously unavailable in English.From a literary point of view, those interested in lyric poetry composed in Old French and Old Provençal have paid increasing attention to Latin poetry that circulated in France, and of course those wishing to trace the background of the Carmina Burana have reason to study this kind of collection, but many poems remain unedited and even more cry out for translation and contextualization. With the publication of the accompanying facsimiles, palaeographers may now be able to solve the puzzle of where the manuscript originated--its story between the Napoleonic wars and 1965, when it was purchased by Harvard. All told, this volume opens the way to advances in medieval studies.

This is the first comprehensive English langage reference volume on Virgil, a poet whose works and thoughts have been at the center of Western literary, cultural, artistic, and pedagogical traditions for more than two millennia. Complements existing Virgil works by providing readers of all levels an approachable point of entry intry into further Virgil studiesOffers in-depth treatment of all aspects of Virgil’s poetry, including the Greek and Roman literary traditions that inform his three great collections, the Eclogues, Georgics and Aeneid, and the reception of Virgil's oeuvre in literature, art, and music down through the agesBrings together over 350 contributors who are leading scholars in various periods of literary and cultural studiesComprises over 2,200 entries organized in A-Z formatWinner of the 2017 Alexander G. McKay Book Prize for the best book in Vergilian studies bestowed by The Vergilian Society. Also available on Wiley Online Library. For sample content and information on online access, visit www.wileyonlinelibrary.com/ref/virgil.

This book is a volume in the Penn Press Anniversary Collection. To mark its 125th anniversary in 2015, the University of Pennsylvania Press rereleased more than 1,100 titles from Penn Press''s distinguished backlist from 1899-1999 that had fallen out of print. Spanning an entire century, the Anniversary Collection offers peer-reviewed scholarship in a wide range of subject areas.