Matthew Wright - Böcker

Selfhood and the Soul is a collection of new and original essays in honour of Christopher Gill, Emeritus Professor of Ancient Thought at the University of Exeter. All of the essays in the volume contribute to a shared project - the exploration of ancient concepts of self and soul, understood in a broad sense - and, as in the work of the honorand himself, they are distinguished by a diversity of approach and subject matter, ranging widely across disciplinary boundaries to cover ancient philosophy, psychology, medical writing, and literary criticism. They can be read separately or together, taking the reader on a journey through topics and themes as varied as money, love, hope, pleasure, rage, free will, metempsychosis, Roman imperialism, cookery, and the Underworld, yet all committed to examining central issues about the experience of being a person and the question of how best to live. The international line-up of contributors includes many established figures in the disciplines of classical literature, ancient philosophy, and ancient medicine, as well as several younger scholars. All have been inspired by Christopher Gill's contributions to scholarly research in these fields and their collective work aspires to honour through imitation his remarkable combination of range with focus.

This is the first major critical study of three late plays of Euripides: Helen, Andromeda and Iphigenia among the Taurians. Matthew Wright offers a sustained reading of the plays, arguing that they are a thematically connected trilogy. He re-examines central themes such as myth, geography, cultural identity, philosophy, religion, and (crucially) genre. These are not separate topics, but are seen as being joined together to form an intricate nexus of ideas. The book has implications for our view of Euripides and the tragic genre as a whole.

Linear acoustics was thought to be fully encapsulated in physics texts of the 1950s, but this view has been changed by developments in physics during the last four decades. There is a significant new amount of theory that can be used to address problems in linear acoustics and vibration, but only a small amount of reported work does so. This book is an attempt to bridge the gap between theoreticians and practitioners, as well as the gap between quantum and acoustic. Tutorial chapters provide introductions to each of the major aspects of the physical theory and are written using the appropriate terminology of the acoustical community. The book will act as a quick-start guide to the new methods while providing a wide-ranging introduction to the physical concepts.

"Orestes" was one of Euripides' most popular plays in antiquity. Its plot, which centres on Orestes' murder of his mother Clytemnestra and its aftermath, is exciting as well as morally complex; its presentation of madness is unusually intense and disturbing; it deals with politics in a way which has resonances for both ancient and modern democracies; and, it has a brilliantly unexpected and ironic ending. Nevertheless, "Orestes" is not much read or performed in modern times. Why should this be so? Perhaps it is because "Orestes" does not conform to modern audiences' expectations of what a 'Greek tragedy' should be. This book makes "Orestes" accessible to modern readers and performers by explicitly acknowledging the gap between ancient and modern ideas of tragedy. If we are to appreciate what is unusual about the play, we have to think in terms of its impact on its original audience. What did they expect from a tragedy, and what would they have made of "Orestes"?

Finding Answers in U.S. Census Records is a comprehensive guide to understanding and using U.S. Census records, in particular those of the federal census. Aimed at the general family history audience, this book is especially useful for the beginning to intermediate researcher. Along with a description of the history and structure of the federal census there is a guide to each decennial census. Three appendixes offer a description of major census data providers, major state and national archives with census collections, and specially designed census extraction forms. Includes a complete index.

Designed to help journalists keep pace with the rapid evolution of deepfakes as well as integrate ‘fake-checking’ methods into their routine reporting practices, this book offers a concise and accessible guide for reporters navigating this evolving challenge.This guide aims to assist journalists in understanding the complexities of deepfakes from a number of angles including philosophical, historical, technical, and methodological. Rather than approaching deepfakes as a ‘journalistic apocalypse,’ this book contextualises them in the larger historical practice of fact-checking and on a continuum of technological advances in image and video manipulation. Encouraging readers to view fact-checking as a multimodal process, it stresses the importance of combining philosophical and technical tools, especially ones based in epistemology and artifical intelligence (AI), in addition to the ‘pavement pounding’ essentials of good journalism. The book concludes with a chapter addressing how to explain deepfakes to a public progressively more concerned about the realities and consequences of AI and misinformation.Fake-Checking serves as a practical reference for journalists and advanced media students who are increasingly required to identify and verify potential deepfakes and their future iterations.This book is supported by online resources which can be accessed at www.routledge.com/9781032741321.

Designed to help journalists keep pace with the rapid evolution of deepfakes as well as integrate ‘fake-checking’ methods into their routine reporting practices, this book offers a concise and accessible guide for reporters navigating this evolving challenge.This guide aims to assist journalists in understanding the complexities of deepfakes from a number of angles including philosophical, historical, technical, and methodological. Rather than approaching deepfakes as a ‘journalistic apocalypse,’ this book contextualises them in the larger historical practice of fact-checking and on a continuum of technological advances in image and video manipulation. Encouraging readers to view fact-checking as a multimodal process, it stresses the importance of combining philosophical and technical tools, especially ones based in epistemology and artifical intelligence (AI), in addition to the ‘pavement pounding’ essentials of good journalism. The book concludes with a chapter addressing how to explain deepfakes to a public progressively more concerned about the realities and consequences of AI and misinformation.Fake-Checking serves as a practical reference for journalists and advanced media students who are increasingly required to identify and verify potential deepfakes and their future iterations.This book is supported by online resources which can be accessed at www.routledge.com/9781032741321.

Linear acoustics was thought to be fully encapsulated in physics texts of the 1950s, but this view has been changed by developments in physics during the last four decades. There is a significant new amount of theory that can be used to address problems in linear acoustics and vibration, but only a small amount of reported work does so. This book is an attempt to bridge the gap between theoreticians and practitioners, as well as the gap between quantum and acoustic. Tutorial chapters provide introductions to each of the major aspects of the physical theory and are written using the appropriate terminology of the acoustical community. The book will act as a quick-start guide to the new methods while providing a wide-ranging introduction to the physical concepts.

What do Americans want from immigration policy and why? In the rise of a polarized and acrimonious immigration debate, leading accounts see racial anxieties and disputes over the meaning of American nationhood coming to a head. The resurgence of parochial identities has breathed new life into old worries about the vulnerability of the American Creed. This book tells a different story, one in which creedal values remain hard at work in shaping ordinary Americans' judgements about immigration. Levy and Wright show that perceptions of civic fairness - based on multiple, often competing values deeply rooted in the country's political culture - are the dominant guideposts by which most Americans navigate immigration controversies most of the time and explain why so many Americans simultaneously hold a mix of pro-immigrant and anti-immigrant positions. The authors test the relevance and force of the theory over time and across issue domains.

What do Americans want from immigration policy and why? In the rise of a polarized and acrimonious immigration debate, leading accounts see racial anxieties and disputes over the meaning of American nationhood coming to a head. The resurgence of parochial identities has breathed new life into old worries about the vulnerability of the American Creed. This book tells a different story, one in which creedal values remain hard at work in shaping ordinary Americans' judgements about immigration. Levy and Wright show that perceptions of civic fairness - based on multiple, often competing values deeply rooted in the country's political culture - are the dominant guideposts by which most Americans navigate immigration controversies most of the time and explain why so many Americans simultaneously hold a mix of pro-immigrant and anti-immigrant positions. The authors test the relevance and force of the theory over time and across issue domains.

Matthew Wright brings Menander’s Samia to life by explaining how it achieves its comic effects and how it fits within the broader context of fourth-century Greek drama and society. He offers a scene-by-scene reading of the play, combining close attention to detail with broader consideration of major themes, in an approach designed to bring out the humour and nuance of each individual moment on stage, while also illuminating Menander’s comic art.The play dramatizes a tangled story of mistakes, mishaps and misapprehensions leading up to the marriage of Moschion and Plangon. For most of the action the characters are at odds with one another owing to accidental delusions or deliberate deceptions, and it seems as if the marriage will be cancelled or indefinitely postponed; but ultimately everyone’s problems are solved and the play ends happily. Samia is one of the best-preserved examples of fourth-century Greek comedy: celebrated within antiquity but subsequently lost for many years, it miraculously came back to light, in almost complete form, as a result of Egyptian papyrus finds during the 20th century.

Matthew Wright brings Menander’s Samia to life by explaining how it achieves its comic effects and how it fits within the broader context of fourth-century Greek drama and society. He offers a scene-by-scene reading of the play, combining close attention to detail with broader consideration of major themes, in an approach designed to bring out the humour and nuance of each individual moment on stage, while also illuminating Menander’s comic art.The play dramatizes a tangled story of mistakes, mishaps and misapprehensions leading up to the marriage of Moschion and Plangon. For most of the action the characters are at odds with one another owing to accidental delusions or deliberate deceptions, and it seems as if the marriage will be cancelled or indefinitely postponed; but ultimately everyone’s problems are solved and the play ends happily. Samia is one of the best-preserved examples of fourth-century Greek comedy: celebrated within antiquity but subsequently lost for many years, it miraculously came back to light, in almost complete form, as a result of Egyptian papyrus finds during the 20th century.

Presenting a new approach to Euripides’ plays, this book explores the playwright’s ancient tragedies in relation to quotation culture. Treating extant works and lost works side-by-side, Matthew Wright presents a selective survey of ways in which Euripidean tragedy was quoted within antiquity, both in social contexts (on the comic stage, at symposia, in law courts, in education) and in different literary genres (drama, biography, oratory, philosophy, literary scholarship, history and anthologies). There is also a discussion of the connection between quotability and classic status, where Wright asks what quotations can tell us about ancient reading habits. The implication is that Euripides actively participated in quotation culture by deliberately making certain portions of his plays stand out as especially quotable.Within classical antiquity, Euripides was the most widely quoted author apart from Homer. His plays are full of ‘quotable quotes’, which were repeated so often that they acquired a life of their own. Hundreds of famous verses from Euripidean drama circulated widely within the ancient world, even after the plays in which they originally featured became forgotten or vanished completely. Indeed, the majority of Euripides’ tragedies now survive only in the form of scattered quotations, otherwise known to us as ‘fragments’. It is this corpus of fragmentary quotations, along with his extant plays, that makes Euripides such an interesting case study in the world of quotation culture. This book is the first of its kind to understand Euripides’ work through this lens, as well as opening up quotation culture as a major theme of interest within classical scholarship.

Presenting a new approach to Euripides’ plays, this book explores the playwright’s ancient tragedies in relation to quotation culture. Treating extant works and lost works side-by-side, Matthew Wright presents a selective survey of ways in which Euripidean tragedy was quoted within antiquity, both in social contexts (on the comic stage, at symposia, in law courts, in education) and in different literary genres (drama, biography, oratory, philosophy, literary scholarship, history and anthologies). There is also a discussion of the connection between quotability and classic status, where Wright asks what quotations can tell us about ancient reading habits. The implication is that Euripides actively participated in quotation culture by deliberately making certain portions of his plays stand out as especially quotable.Within classical antiquity, Euripides was the most widely quoted author apart from Homer. His plays are full of ‘quotable quotes’, which were repeated so often that they acquired a life of their own. Hundreds of famous verses from Euripidean drama circulated widely within the ancient world, even after the plays in which they originally featured became forgotten or vanished completely. Indeed, the majority of Euripides’ tragedies now survive only in the form of scattered quotations, otherwise known to us as ‘fragments’. It is this corpus of fragmentary quotations, along with his extant plays, that makes Euripides such an interesting case study in the world of quotation culture. This book is the first of its kind to understand Euripides’ work through this lens, as well as opening up quotation culture as a major theme of interest within classical scholarship.

Some of the best evidence for the early development of literary criticism before Plato and Aristotle comes from Athenian Old Comedy. Playwrights such as Eupolis, Cratinus, Aristophanes and others wrote numerous comedies on literary themes, commented on their own poetry and that of their rivals, and played around with ideas and theories from the contemporary intellectual scene. How can we make use of the evidence of comedy? Why were the comic poets so preoccupied with questions of poetics? What criteria emerge from comedy for the evaluation of literature? What do the ancient comedians' jokes say about their own literary tastes and those of their audience? How do different types of readers in antiquity evaluate texts, and what are the similarities and differences between 'popular' and 'professional' literary criticism? Does Greek comedy have anything serious to say about the authors and texts it criticizes? How can the comedians be related to the later literary-critical tradition represented by Plato, Aristotle and subsequent writers? This book attempts to answer these questions by examining comedy in its social and intellectual context, and by using approaches from modern literary theory to cast light on the ancient material.

Numerous books have been written about Greek tragedy, but almost all of them are concerned with the 32 plays that still survive. This book, by contrast, concentrates on the plays that no longer exist. Hundreds of tragedies were performed in Athens and further afield during the classical period, and even though nearly all are lost, a certain amount is known about them through fragments and other types of evidence. Matthew Wright offers an authoritative two-volume critical introduction and guide to the lost tragedies. This first volume examines the remains of works by playwrights such as Phrynichus, Agathon, Neophron, Critias, Astydamas, Chaeremon, and many others who have been forgotten or neglected. (Volume 2 explores the lost works of Aeschylus, Sophocles and Euripides.)What types of evidence exist for lost tragedies, and how might we approach this evidence? How did these plays become lost or incompletely preserved? How can we explain why all tragedians except Aeschylus, Sophocles and Euripides became neglected or relegated to the status of ‘minor’ poets? What changes and continuities can be detected in tragedy after the fifth century BC? Can the study of lost works and neglected authors change our views of Greek tragedy as a genre? This book answers such questions through a detailed study of the fragments in their historical and literary context. Including English versions of previously untranslated fragments as well as in-depth discussion of their significance, The Lost Plays of Greek Tragedy makes these works accessible for the first time.

Numerous books have been written about Greek tragedy, but almost all of them are concerned with the 32 plays that still survive. This book, by contrast, concentrates on the plays that no longer exist. Hundreds of tragedies were performed in Athens and further afield during the classical period, and even though nearly all are lost, a certain amount is known about them through fragments and other types of evidence. Matthew Wright offers an authoritative two-volume critical introduction and guide to the lost tragedies. This first volume examines the remains of works by playwrights such as Phrynichus, Agathon, Neophron, Critias, Astydamas, Chaeremon, and many others who have been forgotten or neglected. (Volume 2 explores the lost works of Aeschylus, Sophocles and Euripides.)What types of evidence exist for lost tragedies, and how might we approach this evidence? How did these plays become lost or incompletely preserved? How can we explain why all tragedians except Aeschylus, Sophocles and Euripides became neglected or relegated to the status of ‘minor’ poets? What changes and continuities can be detected in tragedy after the fifth century BC? Can the study of lost works and neglected authors change our views of Greek tragedy as a genre? This book answers such questions through a detailed study of the fragments in their historical and literary context. Including English versions of previously untranslated fragments as well as in-depth discussion of their significance, The Lost Plays of Greek Tragedy makes these works accessible for the first time.