Traditionally, the history of Ancient Greek literature ends with Antiquity: after the fall of Rome, the literary works in ancient Greek generally belong to the domain of the Byzantine Empire. However, after the Byzantine refugees restored the knowledge of Ancient Greek in the west during the early humanistic period (15th century), Italian scholars (and later their French, German, Spanish colleagues) started to use Greek, a purely literary language that no one spoke, for their own texts and poems. This habit persisted with various ups and downs throughout the centuries, according to the development of Greek studies in each country. The aim of this anthology - the first one of this kind - is to give a selective overview of this kind of humanistic poetry in Ancient Greek, embracing all major regions of Europe and trying to concentrate on remarkable pieces of important poets. The ultimate goal of the book is to shed light on an important and so far mostly neglected aspect of the European heritage.

Verdi, Wagner, polymorphous perversion, Puccini, Brunnhilde, Pinkerton, and Parsifal all rub shoulders in this delightful, poetic, insightful, sexual book sprung by one man's physical response to the power and exaggeration we call opera. Sam Abel applies a light touch as he considers the topic of opera and the eroticized body: Why do audiences respond to opera in a visceral way? How does opera, like no other art form, physically move watchers? How and why does opera arouse feelings akin to sexual desire? Abel seeks the answers to these questions by examining homoerotic desire, the phenomenon of the castrati, operatic cross-dressing, and opera as presented through the media. In this deeply personal book, Abel writes, ‘These pages map my current struggles to pin down my passion for opera, my intense admiration for its aesthetic forms and beauties, but much more they express my astonishment at how opera makes me lose myself, how it consumes me.’ In so doing, Abel uncovers what until now, through dry musicology and gossipy history, has been left behind a wall of silence: the physical and erotic nature of opera. Although Abel can speak with certainty only about his own response to opera, he provides readers with a language and a resonance with which to understand their own experiences. Ultimately, Opera in the Flesh celebrates the power of opera to move audiences as no other book has done. It is indeed a treasure of scholarship, passion, and poetry for everyone with even a passing interest in this fascinating art form.

This book is a novel attempt to understand humanism as a socially meaningful cultural idiom in late Renaissance East Central Europe. Through an exploration of geographical regions that are relatively little known to an English reading public, it argues that late sixteenth-century East Central Europe was culturally thriving and intellectually open in the period between Copernicus and Galileo. Humanism was a dominant cluster of shared intellectual practices and cultural values that brought a number of concrete benefits both to the social-climber intellectual and to the social elite. Two exemplary case studies illustrate this thesis in substantive detail, and highlight the ambivalences and difficulties court humanists routinely faced. The protagonists Johannes Sambucus and Andreas Dudith, both born in the Kingdom of Hungary, were two of the major humanists of the Habsburg court, central figures in cosmopolitan networks of men of learning and characteristic representatives of an Erasmian spirit that was struggling for survival in the face of confessionalisation. Through an analysis of their careers at court and a presentation of their self-fashioning as savants and courtiers, the book explores the social and political significance of their humanist learning and intellectual strategies.

A distinctive history of the traditions of reading and life in the Renaissance library, as seen in the texts of Renaissance intellectuals

The hero, Monsieur, is a successful young executive in Paris whose daily life is examined with precision. He is nothing if not unremarkable. Here, he muses on everything from the night sky to a Rotring pen. And he is very funny.

The textual monuments of Greco-Roman antiquity, as is well known, were a staple of Europe’s educated classes since the Renaissance. That the Reformation ushered in a new understanding of human fate and history is equally a commonplace of modern scholarship. The present study probes attitudes towards Greek antiquity by of a group of Lutheran humanists. Concentrating on Philipp Melanchthon, several of his colleagues and students, and a broader Melanchthonian milieu, a Lutheran understanding of Pagan and Christian Greek antiquity is traced in its sixteenth century context, positing it within the framework of Protestant universal history, pedagogical concerns, and the newly made acquaintance with Byzantine texts and post-Byzantine Greeks – demonstrating the need to historicize Antiquity itself in Renaissance studies and beyond.