The fluidity of myth and history in antiquity and the ensuing rapidity with which these notions infiltrated and cross-fertilized one another has repeatedly attracted the scholarly interest. The understanding of myth as a phenomenon imbued with social and historical nuances allows for more than one methodological approaches. Within the wider context of interdisciplinary exchange of ideas, the present volume returns to origins, as it traces and registers the association and interaction between myth and history in various literary genres in Greek and Roman antiquity (i.e. an era when the scientific definitions of and distinctions between myth and history had not yet been perceived as such, let alone fully shaped and implemented), providing original ideas, new interpretations and (re)evaluations of key texts and less well-known passages, close readings, and catholic overviews. The twenty-four chapters of this volume expand from Greek epos to lyric poetry, historiography, dramatic poetry and even beyond, to genres of Roman era and late antiquity. It is the editors’ hope that this volume will appeal to students and academic researchers in the areas of classics, social and political history, archaeology, and even social anthropology.

The fluidity of myth and history in antiquity and the ensuing rapidity with which these notions infiltrated and cross-fertilized one another has repeatedly attracted the scholarly interest. The understanding of myth as a phenomenon imbued with social and historical nuances allows for more than one methodological approaches. Within the wider context of interdisciplinary exchange of ideas, the present volume returns to origins, as it traces and registers the association and interaction between myth and history in various literary genres in Greek and Roman antiquity (i.e. an era when the scientific definitions of and distinctions between myth and history had not yet been perceived as such, let alone fully shaped and implemented), providing original ideas, new interpretations and (re)evaluations of key texts and less well-known passages, close readings, and catholic overviews. The twenty-four chapters of this volume expand from Greek epos to lyric poetry, historiography, dramatic poetry and even beyond, to genres of Roman era and late antiquity. It is the editors’ hope that this volume will appeal to students and academic researchers in the areas of classics, social and political history, archaeology, and even social anthropology.

Viewing ancient China in world context, exploring the possibilities of international activities particularly in relation to the Philippines, during their classical dynasties based on the presence of abundant artifacts, ancient texts, and new archaeological discoveries.

World myth deciphered and organized into a coherent story of our past. It is almost impossible to read world mythology without noticing common threads and patterns that seem to paint a bigger picture. A story told by our ancient ancestors for future generations to remember and learn. What if the eyewitnesses to past events were taken seriously? What if we listen to their stories with unbiased ears, free of assumptions? What if their stories were backed up by scientific discoveries? What if the myths can explain the mysteries?

The volume offers an innovative and systematic exploration of the diverse ways in which Later Greek Epic interacts with the Latin literary tradition. Taking as a starting point the premise that it is probable for the Greek epic poets of the Late Antiquity to have been familiar with leading works of Latin poetry, either in the original or in translation, the contributions in this book pursue a new form of intertextuality, in which the leading epic poets of the Imperial era (Quintus of Smyrna, Triphiodorus, Nonnus, and the author of the Orphic Argonautica) engage with a range of models in inventive, complex, and often covert ways. Instead of asking, in other words, whether Greek authors used Latin models, we ask how they engaged with them and why they opted for certain choices and not for others. Through sophisticated discussions, it becomes clear that intertexts are usually systems that combine ideology, cultural traditions, and literary aesthetics in an inextricable fashion. The book will prove that Latin literature, far from being distinct from the Greek epic tradition of the imperial era, is an essential, indeed defining, component within a common literary and ideological heritage across the Roman empire.

Before the breakthrough of postcolonial studies, British science-fiction authors already saw the opportunity to discuss political and ethical issues of imperialism by projecting human history and behavior onto the alien 'Other.' In this thesis, the case studies of 15 novels of alien-encounter science fiction illuminate the treatment of colonial and postcolonial concepts - such as colonialism, neo-colonialism, Empire, paternalism, hybridity, mimicry and science and technology - as a means of conquest and resistance. The analysis also shows that the Empire is still a vital background for British science fiction. Thesis. (Series: Anglistik / Amerikanistik; English / American Studies - Vol. 35)

As Charlton Heston put it: ‘There’s a temptingly simple definition of the epic film: it’s the easiest kind of picture to make badly.’ This book goes beyond that definition to show how the film epic has taken up one of the most ancient art-forms and propelled it into the modern world, covered in twentieth-century ambitions, anxieties, hopes and fantasies. This survey of historical epic films dealing with periods up to the end of the Dark Ages looks at epic form and discusses the films by historical period, showing how the cinema reworks history for the changing needs of its audience, much as the ancient mythographers did. The form’s main aim has always been to entertain, and Derek Elley reminds us of the glee with which many epic films have worn their label, and of the sheer fun of the genre. He shows the many levels on which these films can work, from the most popular to the specialist, each providing a considerable source of enjoyment. For instance, spectacle, the genre’s most characteristic trademark, is merely the cinema’s own transformation of the literary epic’s taste for the grandiose. Dramatically it can serve many purposes: as a resolution of personal tensions (the chariot race in Ben-Hur), of monotheism vs idolatry (Solomon and Sheba), or of the triumph of a religious code (The Ten Commandments). Although to many people Epic equals Hollywood, throughout the book Elley stresses debt to the Italian epics, which often explored areas of history with which Hollywood could never have found sympathy. Originally published 1984.