Fragmentary texts play a central role in Classics. Their study poses a stimulating challenge to scholars and readers, while its methods and principles, far from being rigidly immutable, invite constant reflection on its methods, approaches, and goals. By focusing on some of the most relevant issues that fragmentologists have to face, this book contributes to the ongoing and lively debate on the study of fragmentary texts. This volume contains an extensive theoretical introduction on the study of textual fragments, followed by eight essays on a wide variety of topics relevant to the study of fragmentary texts across literary genres. The chapters range from archaic Greek epics (the Hesiodic corpus) to late-antique grammarian Nonius Marcellus as a source of fragments of Republican literature. All contributions share a nuanced, critical attention to the main methodological implications of the study of fragmentary texts and mutually contribute to highlighting the field’s common specificities and limitations, both in theory and in editorial practice. The book offers a representative spectrum of fragmentological issues, providing all readers with an interest in Classics with an up-to-date, methodologically aware approach to the field.

Fragmentary texts play a central role in Classics. Their study poses a stimulating challenge to scholars and readers, while its methods and principles, far from being rigidly immutable, invite constant reflection on its methods, approaches, and goals. By focusing on some of the most relevant issues that fragmentologists have to face, this book contributes to the ongoing and lively debate on the study of fragmentary texts. This volume contains an extensive theoretical introduction on the study of textual fragments, followed by eight essays on a wide variety of topics relevant to the study of fragmentary texts across literary genres. The chapters range from archaic Greek epics (the Hesiodic corpus) to late-antique grammarian Nonius Marcellus as a source of fragments of Republican literature. All contributions share a nuanced, critical attention to the main methodological implications of the study of fragmentary texts and mutually contribute to highlighting the field’s common specificities and limitations, both in theory and in editorial practice. The book offers a representative spectrum of fragmentological issues, providing all readers with an interest in Classics with an up-to-date, methodologically aware approach to the field.

Fragmentary Modernism begins from a simple observation: what has been called the 'apotheosis of the fragment' in the art and writing of modernism emerged hand in hand with a series of paradigm-shifting developments in classical scholarship, which brought an unprecedented number of fragmentary texts and objects from classical antiquity to light in modernity. Focusing primarily on the writers who came to define the Anglophone modernist canon -- Ezra Pound, T.S. Eliot, Hilda Doolittle (H.D.), and Richard Aldington, and the artists like Jacob Epstein and Henri Gaudier-Brzeska with whom they were associated -- the book plots the multiple networks of interaction between modernist practices of the fragment and the disciplines of classical scholarship. Some of the most radical writers and artists of the period can be shown to have engaged intensively with the fragments of Greek and Roman antiquity and their mediations by classical scholars. But the direction of influence also worked the other way: the modernist aesthetic of gaps, absence, and fracture came to shape how classical scholars and museum curators themselves interpreted and presented the fragments of the past to audiences in the present. From papyrology to philology, from epigraphy to archaeology, the 'classical fragment', as we still often see it today, emerged as the joint cultural production of classical scholarship and the literary and visual cultures of modernism.

An updated history of classical philology had long been a desideratum of scholars of the ancient world. The volume edited by Diego Lanza and Gherardo Ugolini is structured in three parts. In the first one (“Towards a science of antiquity”) the approach of Anglo-Saxon philology (R. Bentley) and the institutionalization of the discipline in the German academic world (C.G. Heyne and F.A. Wolf) are described. In the second part (“The illusion of the archetype. Classical Studies in the Germany of the 19th Century”) the theoretical contributions and main methodological disputes that followed are analysed (K. Lachmann, J.G. Hermann, A. Boeckh, F. Nietzsche and U. von Wilamowitz-Moellendorff). The last part (“The classical philology of the 20th century”) treats the redefinition of classical studies after the Great War in Germany (W. Jaeger) and in Italy (G. Pasquali). In this context, the contributions of papyrology and of the new images of antiquity that have emerged in the works of writers, narrators, and translators of our time have been considered. This part finishes with the presentation of some of the most influential scholars of the last decades (B. Snell, E.R. Dodds, J.-P. Vernant, B. Gentili, N. Loraux).

The contributions included in this volume deal with the indirect tradition of classical Greek texts in anthologies, lexica and scholia. The innovative approach taken consists in considering the indirect sources as texts worth studying in their own right, rather than as repositories of older, more important texts. The indirect tradition in scholarly literature is thus considered in terms of its broader historical and cultural implications.

A free ebook version of this title is available through Luminos, University of California Press's Open Access publishing program. Visit www.luminosoa.org to learn more. After the deaths of Antony and Cleopatra, Rome finally took control of Egypt. This occupation simultaneously facilitated and circumscribed the exchange of goods, people, and ideas along the paths carved across Rome's burgeoning empire. In this book, Edward Kelting sets out to recapture one of these systems of exchange: the vibrant literary tradition known as Aegyptiaca--or "Egyptian things"--in which culturally mixed authors wrote about Egypt for a Greek and Roman audience. These authors have been dismissed as not really "Egyptian," and their contemporary popularity has been ignored. But as Kelting powerfully argues, this genre in fact constitutes a vibrant intellectual tradition, developed from heterogeneous influences but deeply engaged with Egypt's pharaonic past. In contrast to usual narratives of Roman domination, Kelting uncovers a complex project of political engagement and cultural translation in which Egyptians, Greeks, and Romans all participated.

Presenting a new approach to Euripides' plays, this book explores the playwright's ancient tragedies in relation to quotation culture. Treating extant works and lost works side-by-side, Matthew Wright presents a selective survey of ways in which Euripidean tragedy was quoted within antiquity, both in social contexts (on the comic stage, at symposia, in law courts, in education) and in different literary genres (drama, biography, oratory, philosophy, literary scholarship, history and anthologies). There is also a discussion of the connection between quotability and classic status, where Wright asks what quotations can tell us about ancient reading habits. The implication is that Euripides actively participated in quotation culture by deliberately making certain portions of his plays stand out as especially quotable. Within classical antiquity, Euripides was the most widely quoted author apart from Homer. His plays are full of 'quotable quotes', which were repeated so often that they acquired a life of their own. Hundreds of famous verses from Euripidean drama circulated widely within the ancient world, even after the plays in which they originally featured became forgotten or vanished completely. Indeed, the majority of Euripides' tragedies now survive only in the form of scattered quotations, otherwise known to us as 'fragments'. It is this corpus of fragmentary quotations, along with his extant plays, that makes Euripides such an interesting case study in the world of quotation culture. This book is the first of its kind to understand Euripides' work through this lens, as well as opening up quotation culture as a major theme of interest within classical scholarship.