The collection of the elder Seneca assembles quotations from scores of declaimers over a period spanning sixty years, from the Augustan Age through the early decades of the empire. A view is offered onto a literary scene, for this critical period of Roman letters, that is numerously populated, highly interactive, and less dominated by just a few canonical authors. Despite this potential, modern readings have often lumped declaimers together en masse and organizational principles basic to Seneca’s collection remain overlooked. This volume attempts to ‘hear’ the individual speech of declaimers by focusing on two speakers—Arellius Fuscus, rhetor to Ovid, and Papirius Fabianus, teacher of the younger Seneca. A key organizing principle, informing both the collection and the practice of declamation, was the ‘shared locus’—a short passage, defined by verbal and argumentative ingredients, that gained currency among declaimers. Study of the operation of the shared locus carries several advantages: (1) we appreciate distinctions between declaimers; (2) we recognize shared passages as a medium of communication; and (3) the shared locus emerges as a community resource, explaining deep-seated connections between declamation and literary works.
The collection of the elder Seneca assembles quotations from scores of declaimers over a period spanning sixty years, from the Augustan Age through the early decades of the empire. A view is offered onto a literary scene, for this critical period of Roman letters, that is numerously populated, highly interactive, and less dominated by just a few canonical authors. Despite this potential, modern readings have often lumped declaimers together en masse and organizational principles basic to Seneca’s collection remain overlooked. This volume attempts to ‘hear’ the individual speech of declaimers by focusing on two speakers—Arellius Fuscus, rhetor to Ovid, and Papirius Fabianus, teacher of the younger Seneca. A key organizing principle, informing both the collection and the practice of declamation, was the ‘shared locus’—a short passage, defined by verbal and argumentative ingredients, that gained currency among declaimers. Study of the operation of the shared locus carries several advantages: (1) we appreciate distinctions between declaimers; (2) we recognize shared passages as a medium of communication; and (3) the shared locus emerges as a community resource, explaining deep-seated connections between declamation and literary works.
From Catullus to Horace, the tradition of Latin erotic poetry produced works of literature which are still read throughout the world. Ovid's Amores, written in the first century BC, is arguably the best-known and most popular collection in this tradition. Born in 43 BC, Ovid was educated in Rome in preparation for a career in public services before finding his calling as a poet. He may have begun writing his Amores as early as 25 BC. Although influenced by poets such as Catullus, Ovid demonstrates a much greater awareness of the funny side of love than any of his predecessors. The Amores is a collection of romantic poems centered on the poet's own complicated love life: he is involved with a woman, Corinna, who is sometimes unobtainable, sometimes compliant, and often difficult and domineering. Whether as a literary trope, or perhaps merely as a human response to the problems of love in the real world, the principal focus of these poems is the poet himself, and his failures, foolishness, and delusions. By the time he was in his forties, Ovid was Rome's most important living poet; his Metamorphoses, a kaleidoscopic epic poem about love and hatred among the gods and mortals, is one of the most admired and influential books of all time. In AD 8, Ovid was exiled by Augustus to Romania, for reasons that remain obscure. He died there in AD 17. The Amores were originally published in five books, but reissued around 1 AD in their current three-book form. This edition of the first book of the collection contains the complete Latin text of Book 1, along with commentary, notes and full vocabulary. Both entertaining and thought-provoking, this book will provide an invaluable aid to students of Latin and general readers alike. This book contain embedded audio files of the original text read aloud by Aleksandra Szypowska.
Yodel in Hi-Fi explores the vibrant and varied traditions of yodelers around the world. Far from being a quaint and dying art, yodel is a thriving vocal technique that has been perennially renewed by singers from Switzerland to Korea, from Colorado to Iran. Bart Plantenga offers a lively and surprising tour of yodeling in genres from opera to hip-hop and in venues from cowboy campfires and Oktoberfests to film soundtracks and yogurt commercials. Displaying an extraordinary versatility, yodeling crosses all borders and circumvents all language barriers to assume its rightful place in the world of music. “If Wisconsin wasn’t on the yodel music map before, this book puts it there.”—Wisconsin State Journal
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