Knudsen argues that Homeric epics are the locus for the origins of rhetoric. Traditionally, Homer's epics have been the domain of scholars and students interested in ancient Greek poetry, and Aristotle's rhetorical theory has been the domain of those interested in ancient rhetoric. Rachel Ahern Knudsen believes that this academic distinction between poetry and rhetoric should be challenged. Based on a close analysis of persuasive speeches in the Iliad, Knudsen argues that Homeric poetry displays a systematic and technical concept of rhetoric and that many Iliadic speakers in fact employ the rhetorical techniques put forward by Aristotle. Rhetoric, in its earliest formulation in ancient Greece, was conceived as the power to change a listener’s actions or attitudes through words—particularly through persuasive techniques and argumentation. Rhetoric was thus a “technical” discipline in the ancient Greek world, a craft (technê) that was rule-governed, learned, and taught. This technical understanding of rhetoric can be traced back to the works of Plato and Aristotle, which provide the earliest formal explanations of rhetoric. But do such explanations constitute the true origins of rhetoric as an identifiable, systematic practice? If not, where does a technique-driven rhetoric first appear in literary and social history? Perhaps the answer is in Homeric epics. Homeric Speech and the Origins of Rhetoric demonstrates a remarkable congruence between the rhetorical techniques used by Iliadic speakers and those collected in Aristotle's seminal treatise on rhetoric. Knudsen's claim has implications for the fields of both Homeric poetry and the history of rhetoric. In the former field, it refines and extends previous scholarship on direct speech in Homer by identifying a new dimension within Homeric speech—namely, the consistent deployment of well-defined rhetorical arguments and techniques. In the latter field, it challenges the traditional account of the development of rhetoric, probing the boundaries that currently demarcate its origins, history, and relationship to poetry.
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This anthology presents annotated scripts of four major burlesques by key playwrights: Melodrama Mad! or, the Siege of Troy by Thomas John Dibdin (1819); Telemachus; or, the Island of Calypso by J.R. Planché (1834); The Iliad; or, the Siege of Troy by Robert Brough (1858) and Ulysses; or the Ironclad Warriors and the Little Tug of War by F.C. Burnand (1865). Beloved legend, archaeological riddle and educational staple: Homer's epic tales of the Trojan War and its aftermath were vividly reimagined in nineteenth-century Britain. Classical burlesques-exceptionally successful theatrical entertainments-continually mined the Iliad and Odyssey to lucrative comic effect. Burlesques combined song, dance and slapstick comedy with an eclectic kaleidoscope of topical allusions. From namedropping boxing legends to recasting Shakespearean combats, epic adaptations overflow with satirical commentary on politics, cultural highlights and everyday current affairs. In uncovering Homer's irreverently playful afterlife, this selection showcases burlesque's development and wide appeal. The critical introduction analyses how these plays contested the accessibility of classical antiquity and dramatic performance. Textual and literary annotations, with contemporary illustrations, illuminate the juxtaposed sources to establish these repackaged epics as indispensable tools for unlocking nineteenth-century social, cultural and political history. Resources for further study are available online.
Rachel Greenwald Smith's Affect and American Literature in the Age of Neoliberalism examines the relationship between American literature and politics in the twentieth- and twenty-first centuries. Smith contends that the representation of emotions in contemporary fiction emphasizes the personal lives of characters at a time when there is an unprecedented, and often damaging, focus on the individual in American life. Through readings of works by Paul Auster, Karen Tei Yamashita, Ben Marcus, Lydia Millet, and others who stage experiments in the relationship between feeling and form, Smith argues for the centrality of a counter-tradition in contemporary literature concerned with impersonal feelings: feelings that challenge the neoliberal notion that emotions are the property of the self.
Derek Walcott's Encounter with Homer puts Derek Walcott's epic poem Omeros in conversation with Homer, especially the Odyssey, to show how reading them against each other changes our understanding of the poems of both poets. It explores Walcott's conscious use of the Odyssey and the Homeric persona of Omeros to explore his own deepening relationship with his craft and his identity as a Caribbean poet. Walcott's ability to serve as the vessel of history for his people and their landscapes rests on his transformation into (and self-perception as) Homer's contemporary and equal. Central to the project of Omeros is thus an account of his shift from a diachronic to synchronic relationship with Homer: over the course of the poem his poetic persona, the "Poet", and Homer come to occupy the same temporality and creative space. By locating the poems of Walcott and Homer in a zone of vibrant and unexpected encounter, Rachel Friedman demonstrates how they can be seen as mutually informing texts, each made richer in the presence of the other. The argument follows two intertwined thematic threads. The first focuses on the poems' landscapes and seascapes and the ways in which Omeros reworks the Odyssey's affective geography. While the Odyssey represents the sea as a dangerous space and valorizes life on land, Walcott reverses this trajectory from sea to land, bearing witness to the painful histories carried in the St Lucian soil and relocating homecoming to the space of the Caribbean Sea, a space which accommodates diasporic histories and the imagining of fluid forms of emplacement. The second thread focuses on Walcott's poetic persona: his journey in and out of the poem and his positioning of himself as a "tribal poet" like Homer. Central to the project of Omeros is the Poet's account of the processes by which he becomes the poet who can adequately give voice to the histories of his people and the archipelago they inhabit.
Seventeen-year-old Shannon Baker is the only one left to care for her feisty but ailing grandmother, Gladys. Medicare covers only so much, and Shannons job at Knotts Berry Farm barely helps. Even with the support of her best friend, Jessie, and the attention of her new lab partner, Sean, the situation looks grim. Then she meets Derek Knight. Hes more domineering than Sean, but he seems to be concerned about her well-being, while Sean has pulled away. Hesitant at first, Shannon finally warms to the idea of Derek. He promises to pay her bills and take care of her and Gladys if shell swear loyalty to him. Its a welcome change until Derek becomes too possessive, and Shannons suspicions about Derek and his fathers hotel heighten, while Shannon is haunted by a poem her mother wrote before she died. Now trapped in an elite gang, Shannon finds herself in the middle of a drug deal gone very wrong. She wants out. A mysterious, tuxedoed man might be the answer to her problems, but the price may be too high.
Contents include: The Style of the Mythical Age: An Introduction by Hermann Broch ON THE ILIAD Hector Thetis and Achilles Helen The Comedy of the Gods Troy and Moscow Priam and Achilles Break Bread Poets and Prophets Originally published in 1947. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.
Playful, popular visions of Troy and Carthage, backdrops to the Iliad and Aeneid's epic narratives, shine the spotlight on antiquity's starring role in nineteenth-century culture. This is the story of how these ruined cities inspired bold reconstructions of the Trojan War and its aftermath, how archaeological discoveries in the Troad and North Africa sparked dramatic debates, and how their ruins were exploited to conceptualise problematic relationships between past, present and future. Rachel Bryant Davies breaks new ground in the afterlife of classical antiquity by revealing more complex and less constrained interaction with classical knowledge across a broader social spectrum than yet understood, drawing upon methodological developments from disciplines such as history of science and theatre history in order to do so. She also develops a thorough critical framework for understanding classical burlesque and engages in in-depth analysis of a toy-theatre production.
Felicity Meakins was awarded the Kenneth L. Hale Award 2021 by the Linguistic Society of America (LSA) for outstanding work on the documentation of endangered languages This volume provides the first comprehensive description of Bilinarra, a Pama-Nyungan language of the Victoria River District of the Northern Territory (Australia). Bilinarra is a highly endangered language with only one speaker remaining in 2012 and no child learners. The materials on which this grammatical description is based were collected by the authors over a 20 year period from the last first-language speakers of the language, most of whom have since passed away. Bilinarra is a member of the Ngumpin subgroup of Pama-Nyungan which forms a part of the Ngumpin-Yapa family, which also includes Warlpiri. It is non-configurational, with nominals commonly omitted, arguments cross-referenced by pronominal clitics and word order grammatically free and largely determined by information structure. In this grammatical description much attention is paid to its morphosyntax, including case morphology, the pronominal clitic system and complex predicates. A particular strength of the volume is the provision of sound files for example sentences, allowing the reader access to the language itself.
War and the Iliad is a perfect introduction to the range of Homer's art as well as a provocative and rewarding demonstration of the links between literature, philosophy, and questions of life and death. Simone Weil's The Iliad, or the Poem of Force is one of her most celebrated works--an inspired analysis of Homer's epic that presents a nightmare vision of combat as a machine in which all humanity is lost. First published on the eve of war in 1939, the essay has often been read as a pacifist manifesto. Rachel Bespaloff was a French contemporary of Weil's whose work similarly explored the complex relations between literature, religion, and philosophy. She composed her own distinctive discussion of the Iliad in the midst of World War II--calling it "her method of facing the war"--and, as Christopher Benfey argues in his introduction, the essay was very probably written in response to Weil. Bespaloff's account of the Iliad brings out Homer's novelistic approach to character and the existential drama of his characters' choices; it is marked, too, by a tragic awareness of how the Iliad speaks to times and places where there is no hope apart from war. This edition brings together these two influential essays for the first time, accompanied by Benfey's scholarly introduction and an afterword by the great Austrian novelist Hermann Broch.
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DECEMBER 25: A BOMB RIPS THROUGH A PACKED CATHEDRAL IN JAKARTA. As the hours pass, terrorist explosions continue around the globe, triggering worldwide panic and creating a nightmare beyond words…. Inside the covert agency known only as Office 119, agents Renate Bächle and Lawton Caine are called upon to identify the groups responsible for the bloodshed. But the so-called "Black Christmas" attacks are nothing more than a smoke screen for a far more sinister conspiracy. At its heart are ruthless secret societies with blood ties that date back thousands of years, whose goals are nothing less than global domination. Renate and Lawton are only beginning to fathom how far the darkness extends. With the U. S. president set to deploy nuclear weapons against the wrong targets and religious violence erupting across Europe, they must untangle the interwoven plots before time runs out and Armageddon becomes a terrifying reality.
This book invites readers to explore the complexity of becoming a teacher through the stories of two novice ELA teachers, Emelio and Rachel, over the course of their first two years. The authors’ detailed, empathetic, and ethnographic approach allows space for the teachers to reveal little-seen and often overlooked "wobble moments." These moments illuminate the complexity and nuances that confront, confound, and compel teachers to remain in dialogue with practice. Documenting the journeys of two teachers with compassion and intellectual rigor, this book provides insights into and challenges preconceived notions of what it means to be a teacher. It is essential reading for preservice teachers, scholars, and researchers in English education, as well as individuals considering teaching as a profession.
This examination of the heroic journey in world mythology casts the protagonist as a personification of nature--a "botanical hero" one might say--who begins the quest in a metaphorical seed-like state, then sprouts into a period of verdant strength. But the hero must face a mythic underworld where he or she contends with mortality and sacrifice--embracing death as a part of life. For centuries, humans have sought superiority over nature, yet the botanical hero finds nothing is lost by recognizing that one is merely a part of nature. Instead, a cyclical promise of continuous life is realized, in which no element fully disappears, and the hero's message is not to dwell on death.
Finalist for the National Book Award for Fiction The debut novel by New York Times bestselling author Rachel Kushner, called “shimmering” (The New Yorker), “multilayered and absorbing” (The New York Times Book Review), and “gorgeously written” (Kirkus Reviews). Young Everly Lederer and K.C. Stites come of age in Oriente Province, where the Americans tend their own fiefdom—three hundred thousand acres of United Fruit Company sugarcane that surround their gated enclave. If the rural tropics are a child's dreamworld, Everly and K.C. nevertheless have keen eyes for the indulgences and betrayals of the grown-ups around them—the mordant drinking and illicit loves, the race hierarchies and violence. In Havana, a thousand kilometers and a world away from the American colony, a cabaret dancer meets a French agitator named Christian de La Mazière, whose seductive demeanor can't mask his shameful past. Together they become enmeshed in the brewing political underground. When Fidel and Raúl Castro lead a revolt from the mountains above the cane plantation, torching the sugar and kidnapping a boat full of "yanqui" revelers, K.C. and Everly begin to discover the brutality that keeps the colony humming. Though their parents remain blissfully untouched by the forces of history, the children hear the whispers of what is to come. Kushner's first novel is a tour de force, haunting and compelling, with the urgency of a telex from a forgotten time and place.
New York Times–Bestselling Author: A woman long suspected of murder returns to her hometown as a PI—and soon finds her own life at risk . . . Most folks in Exile, Texas, think Megan Leary got away with murder. Megan was acquitted of her mother’s vicious killing after someone else confessed—but suspicion still shadows her fifteen years later. Now a private investigator, she’s come back to help a friend look for her missing teenage daughter—and it’s not just gossip that’s being stirred up. Sheriff’s Deputy Dan Fox wasn’t sure what to think of Megan or her mysterious past when he pulled her over for speeding. But suddenly, people are dying—and Dan may have to decide whether he can put his trust in Megan to ensure both of them survive . . . Praise for Rachel Caine “Rapid-fire . . . powerful.” —Publishers Weekly on Stillhouse Lake “Absorbing suspense . . . gripping, original.” —Kirkus Reviews on Last Breath “Exciting, fast-paced adventure.” —Library Journal on Paper and Fire
Bubbling with sly humor and psychological insight, this unique, three-section novel holds out a refreshingly flexible and realistic model of what a good family--whether created by nature or chance or both--can consist of.
Paris is perpetually full of possibilities, and this "Rough Guide" clues travelers in on the very best of these--from tourist hot spots to the more offbeat and obscure, this guide covers it all. in color.
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