Marsyas

This book discusses how Greek and South Italian vase paintings of the musical contest between Apollo and Marsyas became the model for Etruscan representations of Cacus ambushed by the Vibennae brothers, two Etruscan heroes of the sixth century B.C. The study demonstrates that the Etruscans knowingly adapted Greek iconographic forms to represent their own legends. Originally published in 1982. 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.

Bundrick proposes that depictions of musical performance were linked to contemporary developments in music.

Fascism and Modernist Literature in Norway illuminates the connections between literature and politics in interwar Europe. Focusing on the works of Nobel Prize-winning novelist Knut Hamsun and modernist poets Asmund Sveen and Rolf Jacobsen, all of whom collaborated with the Nazi regime during the occupation of Norway in World War II, and those of the anti-fascist novelist and critic Sigurd Hoel, Dean Krouk reveals key aspects of the modernist literary imagination in Norway. In their writings, Hamsun, Sveen, and Jacobsen expressed their discontent with twentieth-century European modernity, which they perceived as overly rationalized or nihilistic. Krouk explains how fascism offered these writers a seductive utopian vision that intersected with the countercultural and avant-garde aspects of their literary works, while Hoel�s critical analysis of Nazism extended to a questioning of all patriarchal forms of authority. Krouk�s readings of their works serve as a timely reminder to us all of the dangers of fascism.

A strong preoccupation with the human body - often manifested in startling ways - is a characteristic shared by early modern Europeans and their present-day counterparts. Whilst modern manifestations of this interest include body piercing, tattoos, plastic surgery and eating disorders, early modern preoccupations encompassed such diverse phenomena as monstrous births and physical deformity, body snatching, public dissection, flagellation, judicial torture and public punishment. This volume explores such extreme manifestations of early modern bodily obsessions and fascinations, and their wider cultural significance. Agreeing that an interest in physical boundaries, extreme physical manifestations and situations developed and grew stronger during the early modern period, the essays in this volume investigate whether this interest can be traced in a wider range of cultural phenomena, and should therefore be given a prominent place in any future characterization of the early modern period. Taken as a whole, the volume can be read as an attempt to create a new context in which to explore the cultural history of the human body, as well as the metaphors of research and investigation themselves.

Experience, Narrative, and Criticism in Ancient Greece pursues a new approach to ancient Greek narrative beyond the taxonomies of structuralist narratologies. Focusing on the phenomenal and experiential dimension of our response to narrative, it triangulates ancient narrative with ancient criticism and cognitive approaches, opening up new vistas within the study of classical literature while ably deploying the ancient material to demonstrate the value of a historical perspective for cognitive studies. Concepts such as immersion and embodiment help to establish a more comprehensive understanding of ancient narrative and ancient reading habits, as manifested in Greek criticism and rhetorical theory. The thirteen chapters presented here tackle a broad range of narrative genres, broadly understood: besides epic, historiography, and the novel, tragedy and early Christian texts are also considered alongside non-literary media, such as dance and sculpture. Authored by international specialists in the language, literature, and culture of ancient Greece, each chapter utilizes a rich set of theoretical and methodological tools drawn from cognitive studies, phenomenology, and linguistics that place them at the vanguard of a strong new current in classical scholarship and literary criticism more generally.

The Effective Protagonist in the Nineteenth-Century British Novel is an experiment in post-Jungian literary criticism and methodology. Its primary aim is to challenge current views about the correlation between narrative structure, gender, and the governing psychological dilemma in four nineteenth-century British novels. The overarching argument is that the opening situation in a novel represents an implicit challenge facing not the obvious hero/heroine but the individual that Terence Dawson defines as the "effective protagonist." To illustrate his claim, Dawson pairs two sets of novels with unexpectedly comparable dilemmas: Ivanhoe with The Picture of Dorian Gray and Wuthering Heights with Silas Marner. In all four novels, the effective protagonist is an apparently minor figure whose crucial function in the ordering of the events has been overlooked. Rereading these well-known texts in relation to hitherto neglected characters uncovers startling new issues at their heart and demonstrates innovative ways of exploring both narrative and literary tradition.

As the field of Cultural History grows in prominence in the academic world, an understanding of the history of culture has become vital to scholars across disciplines. The Oxford Handbook of the New Cultural History of Music cultivates a return to the fundamental premises of cultural history in the cutting-edge work of musicologists concerned with cultural history and historians who deal with music. In this volume, noted academics from both of these disciplines illustrate the continuing endeavor of cultural history to grasp the realms of human experience, understanding, and communication as they are manifest or expressed symbolically through various layers of culture and in many forms of art. The Oxford Handbook of the New Cultural History of Music fosters and reflects a sustained dialogue about their shared goals and techniques, rejuvenating their work with new insights into the field itself.