Terence Between Late Antiquity And The Age Of Printing

Terence between Late Antiquity and the Age of Printing investigates Medieval and Early Renaissance reception of Terence in highly innovative ways by combining the diverse but interrelated strands of textual criticism, illustrative tradition and performance.

The twenty-eight essays in this collection showcase cutting-edge research in manuscript studies, encompassing material from late antiquity to the Renaissance. The volume celebrates the exceptional contribution of John Lowden to the study of medieval books.

An interdisciplinary approach to establish the significance of the first illustrated edition of the plays of Terence, its commentary and iconographic traditions and legacy in sixteenth-century Italy and France.

This is a book about Roman comedy, ancient theatre imagery, and seven medieval illustrated manuscripts of Terence’s six Latin comedies. These manuscript illustrations, made between 800 and 1200, enabled their medieval readers to view these comedies as “mirrors of life”.

A volume that introduces new sources and offers fresh perspectives on a key era of transition, this book is of value to art historians and historians alike. From the dissolution of the Carolingian empire to the onset of the so-called 12th-century Renaissance, the transformative 10th–11th centuries witnessed the production of a significant number of illuminated manuscripts from present-day France, Belgium, Spain, and Italy, alongside the better-known works from Anglo-Saxon England and the Holy Roman Empire. While the hybrid styles evident in book painting reflect the movement and re-organization of people and codices, many of the manuscripts also display a highly creative engagement with the art of the past. Likewise, their handling of subject matter—whether common or new for book illumination—attests to vibrant artistic energy and innovation. On the basis of rarely studied scientific, religious, and literary manuscripts, the contributions in this volume address a range of issues, including the engagement of 10th–11th century bookmakers with their Carolingian and Antique legacies, the interwoven geographies of book production, and matters of modern politics and historiography that have shaped the study of this complex period.

The Historiography of Late Republican Civil War represents a close and coherent study of developments and discussions concerning the concept of civil war in the late republican and early imperial historiography of the late Republic.

This book investigates the complex reception of Terence in Ovid and a number of allusions to the Terentian comedies in the love elegies and the exilic elegiac epistle Tristia 2. The genres of Latin love elegy and New Comedy are often seen as closely connected in research, and one leading view is that Latin love elegy to a large degree springs out of the comic genre. However, though both genres are strongly rooted in social practise and presents interpersonal relationships in a non-mythological, everyday setting, there are also major differences between them. Marriage, for instance, is the conventional goal for the young lover withing the comic genre, whereas the elegiac lover should avoid it. Taking into account both the similarities and the crucial differences between the comic genre and Latin love elegy, and key elegiac topoi such as seruitium amoris and militia amoris, this book demonstrates an intricate connection between Ovid and Terence, and a complex nexus of allusions that goes straight to the core of Ovid’s elegiac authorship. Winner of the Trends in Classics Book Prize 2023

Deanne Williams offers the very first study of the medieval and early modern girl actor. Whereas previous histories of the actress begin with the Restoration, this book demonstrates that the girl is actually a well-documented category of performer and a key participant in the drama of the Middle Ages and Renaissance. It explores evidence of the girl actor in archival records of payment, eyewitness accounts, stage directions, paintings, and in the plays and masques that were explicitly composed for girls, and, in some cases, by them. Contradicting previous scholarly assumptions about the early modern stage as male-dominated, this evidence reveals girls' participation in medieval religious drama, Tudor civic pageants and royal entries, Elizabethan country house entertainments, and Stuart court and household masques. This book situates its historical study of the girl actor within the wider contexts of 'girl culture', including girls as singers, translators and authors. By examining the impact of the girl actor on constructions of girlhood in the work of Shakespeare – whose girl characters register and evoke the power of the performing girl – Girl Culture in the Middle Ages and Renaissance argues that girls' dramatic, musical and literary performances actively shaped medieval and early modern culture. It shows how the active presence and participation of girls shaped medieval and Renaissance culture, and it reveals how some of its best-known literary and dramatic texts address, represent, and reflect upon girl children, not as an imagined ideal, but as a lived reality.