T. P. Wiseman – författare

Who were Roman authors writing for? Only a minority of the population was fully literate and books were very expensive, individually hand-written on imported papyrus. So does it follow that great poets and prose authors like Virgil and Livy, Ovid and Petronius, were writing only for the cultured and the privileged? It is this modern consensus that is challenged in this volume.In an ambitious overview of a thousand years of history, from the formation of the city-state of Rome to the establishment of a fully Christian culture, T. P. Wiseman examines the evidence for the oral delivery of ''literature'' to mass public audiences. The treatment is chronological, utilizing wherever possible contemporary sources and the close reading of texts. Wiseman sees the history of Roman literature as an integral part of the social and political history of the Roman people, and drawssome very unexpected inferences from the evidence that survives. In particular, he emphasizes the significance of the annual series of ''stage games'' (ludi scaenici), and reveals the hitherto unexplored common ground of literature, drama, and dance. Direct, accessible, and clearly written, The RomanAudience provides a fundamental reinterpretation of Roman literature as part of the historical experience of the Roman people, making it essential reading for all Latinists and Roman historians.

In the Roman republic, only the People could pass laws, only the People could elect politicians to office, and the very word republica meant ''the People''s business''. So why is it always assumed that the republic was an oligarchy? The main reason is that most of what we know about it we know from Cicero, a great man and a great writer, but also an active right-wing politician who took it for granted that what was good for a small minority of self-styled ''best people''(optimates) was good for the republic as a whole. T. P. Wiseman interprets the last century of the republic on the assumption that the People had a coherent political ideology of its own, and that the optimates, with their belief in justified murder, were responsible for the breakdown of the republicin civil war.

In the Roman republic, only the People could pass laws, only the People could elect politicians to office, and the very word republica meant ''the People''s business''. So why is it always assumed that the republic was an oligarchy? The main reason is that most of what we know about it we know from Cicero, a great man and a great writer, but also an active right-wing politician who took it for granted that what was good for a small minority of self-styled ''best people''(optimates) was good for the republic as a whole. T. P. Wiseman interprets the last century of the republic on the assumption that the People had a coherent political ideology of its own, and that the optimates, with their belief in justified murder, were responsible for the breakdown of the republicin civil war.

The study of Greco-Roman civilisation is as exciting and innovative today as it has ever been. This intriguing collection of essays by contemporary classicists reveals new discoveries, new interpretations and new ways of exploring the experiences of the ancient world.Through one and a half millennia of literature, politics, philosophy, law, religion and art, the classical world formed the origin of western culture and thought. This book emphasises the many ways in which it continues to engage with contemporary life. Offering a wide variety of authorial style, the chapters range in subject matter from contemporary poets' exploitation of Greek and Latin authors, via newly discovered literary texts and art works, to modern arguments about ancient democracy and slavery, and close readings of the great poets and philosophers of antiquity. This engaging book reflects the current rejuvenation of classical studies and will fascinate anyone with an interest in western history.

Who were Roman authors writing for? Only a minority of the population was fully literate and books were very expensive, individually hand-written on imported papyrus. So does it follow that great poets and prose authors like Virgil and Livy, Ovid and Petronius, were writing only for the cultured and the privileged? It is this modern consensus that is challenged in this volume.In an ambitious overview of a thousand years of history, from the formation of the city-state of Rome to the establishment of a fully Christian culture, T. P. Wiseman examines the evidence for the oral delivery of 'literature' to mass public audiences. The treatment is chronological, utilizing wherever possible contemporary sources and the close reading of texts. Wiseman sees the history of Roman literature as an integral part of the social and political history of the Roman people, and draws some very unexpected inferences from the evidence that survives. In particular, he emphasizes the significance of the annual series of 'stage games' (ludi scaenici), and reveals the hitherto unexplored common ground of literature, drama, and dance. Direct, accessible, and clearly written, The Roman Audience provides a fundamental reinterpretation of Roman literature as part of the historical experience of the Roman people, making it essential reading for all Latinists and Roman historians.

In the Roman republic, only the People could pass laws, only the People could elect politicians to office, and the very word republica meant 'the People's business'. So why is it always assumed that the republic was an oligarchy? The main reason is that most of what we know about it we know from Cicero, a great man and a great writer, but also an active right-wing politician who took it for granted that what was good for a small minority of self-styled 'best people' (optimates) was good for the republic as a whole. T. P. Wiseman interprets the last century of the republic on the assumption that the People had a coherent political ideology of its own, and that the optimates, with their belief in justified murder, were responsible for the breakdown of the republic in civil war.

In the Roman republic, only the People could pass laws, only the People could elect politicians to office, and the very word republica meant 'the People's business'. So why is it always assumed that the republic was an oligarchy? The main reason is that most of what we know about it we know from Cicero, a great man and a great writer, but also an active right-wing politician who took it for granted that what was good for a small minority of self-styled 'best people' (optimates) was good for the republic as a whole. T. P. Wiseman interprets the last century of the republic on the assumption that the People had a coherent political ideology of its own, and that the optimates, with their belief in justified murder, were responsible for the breakdown of the republic in civil war.

This book is an attempt to read the poems of Gaius Valerius Catullus in his own context; to look at the poet and his works against the cultural realities of the first century BC as recent advances in historical research allow us to understand them. Catullus' own social background, the circumstances of the literary life of his time, the true extent of his works and the variety of audiences he addressed - these and other questions are explored by Professor Wiseman with new and startling results. Contemporary high society and politics are illustrated through Clodia and Caelius Rufus, considered not as mere adjuncts to Catullus' story but as significant historical personalities in their own right. A final chapter on nineteenth- and twentieth-century interpretations of Catullus' world shows how anachronistic preconceptions have prevented a proper understanding of it, and made this radical reappraisal necessary. Anyone with a serious interest in Latin literature or Roman history will want to read this book. Students in the upper levels of school or at university will find it essential background reading to their work on Catullus and Cicero's Pro Caelio.

Essays designed to illuminate the nature of politics at the end of the late Republic and during the first dynasty of the Principate.

This collection of essays explores the key issue of the nature of the boundary between fact and fiction, an issue which has become prominent especially through the upsurge of interest in the ancient novel and recent work on the rhetorical character of ancient historiography. The collection covers early Greek poetry (E.L. Bowie), Greek and Roman historiography (John Moles and T.P. Wiseman), Plato (Christopher Gill) and the Greek and Roman novel (John Morgan and Andrew Laird), and especially considers how far 'lying' was distinguished from 'fiction' at different periods and in different genres.

Winner of American Philological Association: C.J. Goodwin Award of Merit 2005. Shortlisted for British Academy Book Prize 2005. Widely reviewed and celebrated in hardback on publication in 2004, "The Myths of Rome" is now available in a paperback edition.This major re-evaluation of Roman history and its afterlife in western culture through the mediums of myth and art is fast becoming the standard popular account of the Roman story-world. It triumphantly redresses the popular perception of classical myth as a predominantly Greek invention; and builds a cohesive narrative from the mass of mythical and historical tales that cluster around the nexus of Rome. It is set to become a sourcebook for students of Roman myth and history in this country and around the world at undergraduate and graduate level.

In Unwritten Rome, a new book by the author of Myths of Rome, T.P. Wiseman presents us with an imaginative and appealing picture of the early society of pre-literary Rome—as a free and uninhibited world in which the arts and popular entertainments flourished. This original angle allows the voice of the Roman people to be retrieved empathetically from contemporary artefacts and figured monuments, and from selected passages of later literature.How do you understand a society that didn’t write down its own history? That is the problem with early Rome, from the Bronze Age down to the conquest of Italy around 300 BC. The texts we have to use were all written centuries later, and their view of early Rome is impossibly anachronistic. But some possibly authentic evidence may survive, if we can only tease it out – like the old story of a Roman king acting as a magician, or the traditional custom that may originate in the practice of ritual prostitution. This book consists of eighteen attempts to find such material and make sense of it.

Catullan Questions Revisited offers a new insight into the brilliant poet who loved an aristocratic girl, attacked Julius Caesar and became a satirical playwright. Insisting on scrupulous use of the primary sources, Peter Wiseman combines textual, historical and even archaeological evidence to explode the orthodox view of Catullus' life and work. 'Lesbia' was not a woman in her thirties, as has been believed for 150 years, but a girl only recently married; Catullus' poems were written for performance, private or public, and it was only in 54 BC, at what he saw as the turning-point of his life, that he collected their texts into a sequence of probably seven volumes. His subsequent literary career, equally successful but much less well attested, was as a 'mime'-dramatist. This book is intended for everyone who is interested in poetry and history, and who does not believe that literary texts exist in a vacuum.

Catullan Questions Revisited offers a new insight into the brilliant poet who loved an aristocratic girl, attacked Julius Caesar and became a satirical playwright. Insisting on scrupulous use of the primary sources, Peter Wiseman combines textual, historical and even archaeological evidence to explode the orthodox view of Catullus'' life and work. ''Lesbia'' was not a woman in her thirties, as has been believed for 150 years, but a girl only recently married; Catullus'' poems were written for performance, private or public, and it was only in 54 BC, at what he saw as the turning-point of his life, that he collected their texts into a sequence of probably seven volumes. His subsequent literary career, equally successful but much less well attested, was as a ''mime''-dramatist. This book is intended for everyone who is interested in poetry and history, and who does not believe that literary texts exist in a vacuum.

Catullan Questions Revisited offers a new insight into the brilliant poet who loved an aristocratic girl, attacked Julius Caesar and became a satirical playwright. Insisting on scrupulous use of the primary sources, Peter Wiseman combines textual, historical and even archaeological evidence to explode the orthodox view of Catullus' life and work. 'Lesbia' was not a woman in her thirties, as has been believed for 150 years, but a girl only recently married; Catullus' poems were written for performance, private or public, and it was only in 54 BC, at what he saw as the turning-point of his life, that he collected their texts into a sequence of probably seven volumes. His subsequent literary career, equally successful but much less well attested, was as a 'mime'-dramatist. This book is intended for everyone who is interested in poetry and history, and who does not believe that literary texts exist in a vacuum.

Catullan Questions Revisited offers a new insight into the brilliant poet who loved an aristocratic girl, attacked Julius Caesar and became a satirical playwright. Insisting on scrupulous use of the primary sources, Peter Wiseman combines textual, historical and even archaeological evidence to explode the orthodox view of Catullus'' life and work. ''Lesbia'' was not a woman in her thirties, as has been believed for 150 years, but a girl only recently married; Catullus'' poems were written for performance, private or public, and it was only in 54 BC, at what he saw as the turning-point of his life, that he collected their texts into a sequence of probably seven volumes. His subsequent literary career, equally successful but much less well attested, was as a ''mime''-dramatist. This book is intended for everyone who is interested in poetry and history, and who does not believe that literary texts exist in a vacuum.

Clio is Muse of history, her 'cosmetics' the adornments of rhetoric. Peter Wiseman's influential book, first published in 1979 and now for the first time in paperback, concerns the writing of history during the first century BCE, when Rome was in process of becoming the centre of the Greek, as much as her own, literary world. Historians, trained in the schools of rhetoric, prized elegant plausibility above the empirical objectivity we expect of them today. Legend and history intermingled; history and poetry overlapped.This study divides into three distinct parts. The first treats the problems that arise from reading first century history as if it were written by modern, non-rhetorical standards. The second examines the pseudo-history of the gens Claudia, fabricated during the first century and transmitted to us by Livy and Dionysius of Halicarnassus. The third discusses Catullus' dedication of his poetry to the historian Cornelius Nepos against the background of the two authors' common intellectual heritage. The book represents a significant contribution towards an appreciation of ancient historiography and Roman culture. History is viewed here as rhetoric, as myth-making, and as poetry.