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You can search for books and e-books simultaneously through the Library catalogue, Explore, which is the principal tool for finding books, journals and other materials held in UCL libraries (whether in print or electronic format).
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The Classics collection is located on the 1st floor of the UCL Main Library and is arranged by subject in accordance with Garside, UCL's own classification scheme. Each book has a shelfmark on the spine which consists of the name of the collection, followed by a letter and number indicating the subject, and the first three letters of the author's surname.
The sequence starts with books on classical studies generally (CLASSICS A) and classical literature generally (CLASSICS C), subdivided by topic. These sections are followed by books on Greek language and literature (CLASSICS G) and books on Latin language and literature (CLASSICS L).
Comprehensive series of Greek and Latin texts, such as the Loeb Classical Library and Oxford Classical Texts are shelved together and are followed by an A-Z of ancient authors. Each author has their own shelfmark, or series of shelfmarks, for example: Homer (CLASSICS GN 1-13), Virgil (CLASSICS LV 12-35).
The Papyrology collection is located in the corridor outside the Classics reading rooms. Editions of papyrological texts (PAPYROLOGY PA) are arranged alphabetically in accordance with the symbol for the papyrological text e.g. The Oxyrhynchus Papyri (PAPYROLOGY PA 340 OXY).
This multidisciplinary volume examines the ongoing effects of James G. Frazer's The Golden Bough in modern Humanities and its wide-ranging influence across studies of ancient religions, literature, historiography and reception studies. It begins by exploring the life and times of Frazer himself and the writing of The Golden Bough in its cultural milieu. The volume then goes on to cover a wide range of topics, including: ancient Near Eastern religion and culture; Minoan religion and in particular the origins of notions of Minoan matriarchy; Frazer's influence on the study of Graeco-Roman religion and magic; Frazer's influence on modern Pagan religions; and the effects of Frazer's works in modern culture and scholarship generally. Chapters examine how modern academia - and beyond - continues to be influenced by the otherwise discredited theories in The Golden Bough, ideas such as Sacred Marriage and the incessant Fertility of Everything. The book demonstrates how scholarship within the Humanities as well as practitioners of alternative religions and the common public remain under the thrall of Frazer over one hundred years since the publication of the abridged edition of The Golden Bough, and what we must do to shake off that influence.
Latin literature exploded onto the scene from relatively humble beginnings in the third century BCE. In an astonishingly short time the Romans adopted and adapted nearly all the genres of literature known to them and not only were they well aware of their large-scale appropriation but even, curiously, boasted of it. This readable new history of Latin literature covers the full span of the Roman republic, concluding with the age of Augustus, whose great poets engaged with the enormous political and cultural changes of their time and laid the foundations for the literature of the Imperial period. All the major writers are covered but attention is also paid to more fragmentary but still key authors such as Ennius, Cato, Lucilius, and Varro. Readers are given the essential historical, cultural, and literary background as well as close readings of specific passages, which reveal the charm and complexity which animate Latin literature.
Aeolic and Aeolians explores the origin of an ancient Greek language and the beginnings and evolution of the community of its speakers - the Aeolians. Roger Woodard argues that the starting point for both is situated in Asia Minor during the period of the Late Bronze Age, and that the ancestral Aeolic speech community can be identified with the Mycenaean peoples of Anatolia called the Ahhiyawans in Hittite records. These Bronze-Age Asian Greeks would intermarry with local Luvian peoples of western Anatolia, and the Aeolian language and identity - an identity encoded in myth-emerged from the intermixing of the two societies. Aeolian myths are central to Woodard's ground-breaking investigations presented in this volume. He demonstrates how assemblages of mythic components, what Lévi-Strauss called bricolage, enabled early Aeolians to give intellectual expression to their distinctive Greek identity. With the collapse of Bronze-Age societies in Mycenaean Greece, some of the early Aeolians of Anatolia would migrate to Europe, introducing their language and myths into Hellas.
Propertius and the Virgilian Sensibility is an in-depth study of Propertius' final collection of elegies as the earliest concerted response to the poetic career of Virgil in its totality. Seven chapters show how Propertius' fourth book, published three or more years after Virgil's death, enacts the canonical status of Rome's foremost poet through an intimate conversation across a number of themes, from socio-political and historical questions centring on, for example, Rome's evolution from rustic past to 'golden age' superpower, gender and patriarchy, and warfare both international and internecine, to literary questions concerning the generic identity of elegy and epic, the appropriation of Callimachus, and the architecture of poetry books. Propertius' totalizing reading reveals an elegiac Virgil as much as it does an epicizing Propertius, with a sometimes obsessive attention to detail that enlarges familiar paradigms of allusion and intertextuality and has implications for how literary and textual criticism are practised.
A fresh and original introduction to the Odyssey--and how it continues to shape literature, film, art and even the ways we make sense of our lives Reading the Odyssey is an introduction to Homer's masterpiece like no other. It combines a cultural and intellectual history of the epic with an in-depth exploration of its unique and influential narrative structure and the ways it continues to inform issues of identity, meaning and experience. Reading the Odyssey begins with a broad history of the epic's reception and interpretation, its place in cultural and intellectual history and its influence today on literature, film and art. After introducing the literary form of the Odyssey, the book turns to its main focus: the layered narrative that lies at the heart of the poem. Taking readers on a tour of the epic, Jonas Grethlein shows the nuanced ways the Odyssey uses a wide variety of narrative forms and functions. At the same time, he highlights how we all rely on narratives, first used by Homer, to form identities, forge communities and make sense of our lives. The result is a compelling guide to the Odyssey that demonstrates why it continues to speak so powerfully to so many readers today.
Encompassing the period from the earliest archaic epics down through classical Athenian drama, this is the first concerted, step-by-step examination of the development of allusive poetics in the early Greek world. Recent decades have seen a marked rise in intertextual approaches to early Greek literature; as scholars increasingly agree on the need to read these texts in a comparative way, this only makes all the more urgent the question of how best to do so. This volume brings together divergent scholarly voices to explore the state of the field and to point the way forward. All twelve chapters address themselves to a core set of fundamental questions: how do texts generate meaning by referring to other texts and how do the poetics of allusivity change over time and differ across genres? The result is a holistic study of a key dimension of literary experience.
This is a Festschrift offered by friends and colleagues to papyrologist and ancient historian Peter van Minnen. The volume contains the edition or re-edition of 52 papyri and ostraca, dating from between the third century BCE and the eighth century CE. Their subjects vary from Demosthenes to the delivery of camels in early Islamic Egypt, and their provenances stretch from the Eastern to the Western Desert, and from the Egyptian Nile valley to Qasr Ibrim in northern Nubia. All texts are published with transcription, translation, commentary and colour photographs. In addition, there are five studies, reflecting the honorand's wide-ranging interests.
The Oxford Handbook of Monsters in Classical Myth presents forty chapters about the unique and terrifying creatures from myths of the long-ago Near East and Mediterranean world, featuring authoritative contributions by many of the top international experts on ancient monsters and the monstrous. The first part provides original studies of individual monsters such as the Chimaera, Cerberus, the Hydra, and the Minotaur, and of monster groups such as dragons, centaurs, sirens, and Cyclopes. This section also explores their encounters with the major heroes of classical myth, including Perseus, Jason, Heracles, and Odysseus. The second part examines monsters of ancient folklore and ethnography, encompassing the restless dead, blood-drinking lamiae, exotic hybrid animals, the so-called dog-headed men, and many other unexpected creatures and peoples. The third part covers various interpretations of these creatures from multiple perspectives, including psychoanalysis, colonialism, and disability studies, with monster theory itself evident across the entire volume. The final part discusses reception of these ancient monsters across time and space--from the Middle Ages to the Renaissance to modern times, from Persia to Scandinavia, the Caribbean, and Latin America-and concludes with chapters considering the use and adaptation of ancient monsters in children's literature, science fiction, fantasy, and modern scientific disciplines. This Handbook is the first large-scale, inclusive guide to monsters in antiquity, their places in literature and art across the millennia, and their influence on later literature and thought.
This collection brings together twenty eight chapters written by Stephen Harrison's colleagues and former students from around the globe to celebrate both his distinguished teaching and research career as a classicist and his outstanding and admirable service to the international classical community. The wide variety of original contributions on topics ranging from Greek to Latin and ancient literature's reception in opera and contemporary writing is divided into five parts. Each corresponds to the staggering publication record of the honorand, encompassing, as it does, a broad literary spectrum, starting from the literature of the end of the Roman Republic and coming down to Neo-Latin and the reception of Classics in Irish, in English poetry and in European literature and culture in general. This corpus of compelling chapters is hoped to match Stephen Harrison's rich research output in an illuminating dialogue with it.
Wedding, Gender, and Performance in Ancient Greece traces the wedding song tradition, its imagery, and its tropes as a genre that became crystallized throughout the ages. It explores how wedding poetics permeates ancient Greek literature. It first analyzes how explicit or implicit matrimonial references shape archaic epic diction and become an integral part of epic discourse; orally circulating texts, such as wedding songs, could have a life of their own but, beyond their original context, could also become an integral part of a different genre, especially epic and drama. This author discusses the multiple platforms that enrich the wedding song tradition, including children's songs, hymns, paeans, and ululations, arguing for a combination of ritualized discourse with ludic childhood poetics. With an approach from cognitive and trauma studies, such references can be more revealing of the female experience than previously acknowledged. This book resists the idea that a wedding constitutes an initiation ritual, arguing that what on the surface may seem like a transition to a new phase reveals other underlying trends that work against the concept of a passage. It further considers how emotion is staged and revisits the poetics of return by looking at patterns such as the eloping, returning, failed, and dead bride. Finally, the theme of separation and return as an exemplification of a distinct female nostos is revisited in female-authored poetry, which helps us decode the complex interweaving of wedding performances and lamentation, among other types of performance.
How are poetry and the figure of the poet represented, discussed, contested within the poetry of ancient Greece? From what position does a poet speak? With what authority? With what debts to the past? With what involvement in the present? Through a series of interrelated essays on Homer, lyric poetry, Aristophanes, Theocritus and Apollonius of Rhodes, this landmark volume discusses key aspects of the history of poetics: tale-telling and the representation of man as the user of language; memorial and praise; parody, comedy and carnival; irony, masks and desire; the legacy of the past and the idea of influence. Detailed readings of major works of Greek literature and liberal use of critical writings from outside Classics help to align modern and ancient poetics in enlightening ways. This revised edition contains a substantial new Introduction which engages with critical and scholarly developments in Greek literature since the original publication.
The first revenge drama, the first great female role, the first tragedy set on the cusp between public space and private household, the first part of the only surviving tragic trilogy--the foundational status of Aeschylus' monumental Agamemnon cannot be over-estimated. Agamemnon's entry on a chariot, arrogant passage over purple carpets, death in the bath and display as a corpse, along with the inspired prophetess, his war booty Cassandra, make this tragedy visually electrifying; the poetry, especially in Clytemnestra's orations and the choral odes, in magniloquence and vivid imagery surpasses anything in classical literature. This new edition, with Greek text, critical introduction, accessible translation and detailed commentary gives consistent support in construing the ancient Greek and appreciating the aural power of Aeschylus' language and rhythms. It draws on cutting-edge scholarship to provide unprecedented illumination of sociological and performative aspects of his play: the chorus' struggle to maintain representation for ordinary Argives, the different responses of Clytemnestra and Cassandra to the inequities imposed on them by patriarchy, the sensory experience of poetry imbued with prompts to taste, smell, touch and hearing as well as vision, the challenges and opportunities presented by the text to directors and actors both ancient and modern, and the thrilling control of the tragic medium by its undisputed founding father.
Jeffrey Ulrich's The Shadow of an Ass addresses fundamental questions about the reception and aesthetic experience of Apuleius' Metamorphoses, popularly known as The Golden Ass, by situating the novel in a contemporaneous literary and philosophical discourse emerging in the Second Sophistic. This unique Latin novel follows a man who is accidentally turned into a donkey because of his curiosity, viewing the world through a donkey's eyes until he is returned to human form by the Egyptian goddess Isis. In the end, he chooses to become a cult initiate and priest instead of a debased and overindulgent ass. On the one hand, the novel encourages readers to take pleasure in the narrator's experiences, as he relishes food, sex, and forbidden forms of knowledge. Simultaneously, it challenges readers to reconsider their participation in the story by exposing its donkey-narrator as a failed model of heroism and philosophical investigation. Ulrich interprets the Metamorphoses as a locus of philosophical inquiry, positioning the act of reading as a choice of how much to invest in this tale of pleasurable transformation and unanticipated conversion. The Shadow of an Ass further explores how Apuleius, as a North African philosopher translating an originally Greek novel into a Latin idiolect, transforms himself into an intermediary of Platonic philosophy for his Carthaginian audience. Situating the novel in a long history of philosophical and literary conversations, Ulrich suggests that the Metamorphoses anticipates much of the philosophical burlesque we tend to associate with early modern fiction, from Don Quixote to Lewis Carroll.
One of the most famous voices to have survived from the Roman world, Catullus's poetry is still amongst the most popular and widely read. But what is it that makes this 2,000-year-old voice so relevant, so personal, and so endlessly fascinating? Reinvigorating discussions around the nature of Catullus's lyricism, Catullus in Twentieth-Century Music takes a completely new approach to Catullus and ideas of lyric. It centres around four musical works from the twentieth century, each one capturing the essence of Catullus in musical retellings and showcasing a very personal response to the original text. Considering how and why these musical composers used Catullus's poetry as their stimulus allows us to uncover new ideas about Catullus's poetry. By considering the very process of reception, Stephanie Oade takes a broader view of lyric, identifying traits and characteristics that are common to both music and poetry, thus transcending the boundaries of individual art forms in order to consider the genre in larger, interdisciplinary terms. It offers insights into compositional processes and challenges audiences to think about ways of engaging with music and poetry. More than anything, it shows how ancient voices continue to resound in modernity and offer everlasting expression for our own experiences and emotions.
Investigating the widespread but understudied presence of the Persephone myth within 21st-century young adult literature, Cristina Salcedo González analyses six young adult novels which incorporate a reworking of this ancient Greek myth. Through the identification of mythic themes ('mythemes') and patterns within these novels, González shows that these works evoke the female life cycle and develop current perceptions of the female maturational experience. As a result, González makes an important contribution in establishing the cultural significance of young adult literature in the world of classical reception. These novels, all written by women, also inflect or interpret the myth in ways influenced by their contemporary contexts, specifically the impact of the novels' target readership on the aspects of the myth that are either emphasised (e.g. Persephone's descent into the underworld; her existence there; and her re-ascent) or de-emphasised (e.g. the mourning and wanderings of Demeter). This book makes original methodological contributions - through its innovative dual perspective of myth criticism and classical reception - to our understanding of the academically neglected genre of young adult literature and the reception of the myth of Persephone. As a result, González makes an important contribution in establishing the cultural significance of young adult literature in the world of classical reception.
This is a vital and accessible overview of Greek drama from its origins to its later reception, including chapters on authors and dramas in their social and religious context as well as key aspects such as structure, character, staging and music. With contributions by 13 international scholars, world experts in their field, it provides readers with clear, authoritative, up-to-date considerations of both the theory and practice of Greek drama. While each chapter can stand in isolation, the overall structure takes readers on a natural progression - beginning with sources of evidence and origins, considering the major genres and their authors, examining the traditional Aristotelean components of drama in the context of performance, and ending with later reception. In doing so, it explores Greek drama as at once a religious act, a stage for political propaganda, an opportunity for questioning social issues, and pure entertainment - a stunning melange of poetry, music, dance, and visual spectacle, specific to, yet transcending, its immediate context.
Griffins, centaurs and gorgons: the Greek imagination teems with wondrous, yet often monstrous, hybrids. Jeremy McInerney discusses how these composite creatures arise from the entanglement of humans and animals. Overlaying such enmeshment is the rich cultural exchange experienced by Greeks across the Mediterranean. Hybrids, the author reveals, capture the anxiety of cross-cultural encounter, where similarity and incongruity were conjoined. Hybridity likewise expresses instability of identity. The ancient sea, that most changeable ancient domain, was viewed as home to monsters like Skylla; while on land the centaur might be hypersexual yet also hypercivilized, like Cheiron. Medusa may be destructive, yet also alluring. Wherever conventional values or behaviours are challenged, there the hybrid gives that threat a face. This absorbing work unveils a mercurial world of shifting categories that offer an alternative to conventional certainties. Transforming disorder into images of wonder, Greek hybrids - McInerney suggests - finally suggest other ways of being human.
Scholarship surrounding the standard varieties of Ancient Greek (Attic, the Koine, and Atticistic Greek) focused from its beginnings until relatively recently on determining fixed uniformities or differences between them. This collection of essays advocates for understanding them as interconnected and continuously evolving and suggests viewing them as living organisms shaped by their speakers and texts. The authors propose approaches chat integrate linguistics, sociolinguistics, and literary studies to explore how speakers navigate linguistic norms and social dynamics, leading to innovations and reshaping of standards. Each contribution challenges the dichotomy between standards and deviations, suggesting that studying linguistic diversity through socio-literary interconnectedness can enrich our understanding of language history and cultural wealth.
Rupert Brooke, Wilfred Owen, Isaac Rosenberg, and Charles Sorley all died in the First Word War. They came from diverse social, educational, and cultural backgrounds, but for all of the writers, engagement with Greek and Roman antiquity was decisive in shaping their war poetry.The world views and cultural hinterlands of Brooke and Sorley were framed by the Greek and Latin texts they had studied at school, whereas for Owen, who struggled with Latin, classical texts were a part of his aspirational literary imagination. Rosenberg's education was limited but he encountered some Greek and Roman literature through translations, and through mediations in English literature. The various ways in which the poets engaged with classical literature are analysed in the commentaries, which are designed to be accessible to classicists and to users from other subject areas. The extensive range of connections made by the poets and by subsequent readers is explained in the Introduction to the volume. The commentaries illuminate relationships between the poems and attitudes to the war at the time, in the immediate post-war years, and subsequently. They also probe how individual poems reveal various facets of the poetry of unease, the poetry of survival, and the poetics of war and ecology. References to the accompanying online Oxford Classical Receptions Commentaries will enable readers to follow up their special interests. This volume differs from the shorter volume Greek and Roman Antiquity in First World War Poetry: Making Connections in that it covers the whole output of the four poets, and not just their war poems.
Materials relevant to the study of Classics can also be found in the following Library collections:
The Institute of Archaeology Library houses collections relating to the following subject areas:
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