This book analyzes Byzantine examples of witness literature, a genre that focuses on eyewitness accounts written by slaves, prisoners, refugees, and other victims of historical atrocity. It focuses on such episodes in three nonfictional texts – John Kaminiates’ Capture of Thessaloniki (904), Eustathios of Thessaloniki’s Capture of Thessaloniki (1186), and Niketas Choniates’ History (ca. 1204–17) – and the three extant twelfth-century Komnenian novels to consider how the authors’ positions as both eyewitness and victim require an interpretive method that distinguishes witness literature from other kinds of writing about the past. Drawing on theoretical developments in the fields of Holocaust and Genocide Studies (such as Giorgio Agamben’s homo sacer and Michel Foucault’s biopolitics) and comparisons with modern examples (Elie Wiesel’s Night and Primo Levi’s If This is a Man), Witness Literature emphasizes the affective, subjective, and experiential in medieval Greek historical writing.

"By turns reflexive and daring, Goldwyn's book is riskful thinking at its best. For medievalists, it opens up new possibilities for reading and teaching the works that matter to us most -- those that somehow place us face-to-face with human Others and leave us feeling more than we can express. In Goldwyn's book, the face of the human Other presents itself, even if only briefly and in a moment of mortal danger." - Vincent Barletta, Stanford University, USA "Innovative, illuminating and daring. This theoretically sophisticated book revolutionizes the study of Byzantine literature and enriches our understanding of angst, anxiety and trauma in the middle ages. This book provides an insightful discussion of captivity in the Byzantine era and a new interdisciplinary, trans-historical understanding of narratives which will captivate scholars for years to come." -Elena N. Boeck, DePaul University, USA.

The corpus of Palaiologan romances consists of about a dozen works of imaginative fiction from the thirteenth to the fifteenth centuries which narrate the trials and tribulations of aristocratic young lovers. This volume brings together leading scholars of Byzantine literature to examine the corpus afresh and aims to be the definitive work on the subject, suitable for scholars and students of all levels. It offers interdisciplinary and transnational approaches which demonstrate the aesthetic and cultural value of these works in their own right and their centrality to the medieval and early modern Greek, European and Mediterranean literary traditions. From a historical perspective, the volume also emphasizes how the romances represent a turning point in the history of Greek letters: they are a repository of both ancient and medieval oral poetic and novelistic traditions and yet are often considered the earliest works of Modern Greek literature.

This is a study of the artistic and political context that led to the production of a truly exceptional Byzantine illustrated manuscript. Paris, Bibliothèque Nationale de France, codex grec 54 is one of the most ambitious and complex manuscripts produced during the Byzantine era. This thirteenth-century Greek and Latin Gospel book features full-page evangelist portraits, an extensive narrative cycle, and unique polychromatic texts. However, it has never been the subject of a comprehensive study and the circumstances of its commission are unknown. In this book Kathleen Maxwell addresses the following questions: what circumstances led to the creation of Paris 54? Who commissioned it and for what purpose? How was a deluxe manuscript such as this produced? Why was it left unfinished? How does it relate to other Byzantine illustrated Gospel books? Paris 54's innovations are a testament to the extraordinary circumstances of its commission. Maxwell's multi-disciplinary approach includes codicological and paleographical evidence together with New Testament textual criticism, artistic and historical analysis. She concludes that Paris 54 was never intended to copy any other manuscript. Rather, it was designed to eclipse its contemporaries and to physically embody a new relationship between Constantinople and the Latin West, as envisioned by its patron. Analysis of Paris 54's texts and miniature cycle indicates that it was created at the behest of a Byzantine emperor as a gift to a pope, in conjunction with imperial efforts to unify the Latin and Orthodox churches. As such, Paris 54 is a unique witness to early Palaeologan attempts to achieve church union with Rome.

This volume offers an overview of Byzantine manuscript illustration, a central branch of Byzantine art and culture. Just like written texts, illustrations bear witness to Byzantine material culture, imperial ideology and religious beliefs, as well as to the development and spread of Byzantine art. In this sense illustrated books reflect the society that produced and used them. Being portable, they could serve as diplomatic gifts or could be acquired by foreigners. In such cases they became “emissaries” of Byzantine art and culture in Western Europe and the Arabic world. The volume provides for the first time a comprehensive overview of the material, divided by text categories, including both secular and religious manuscripts, and analyses which texts were illustrated in Byzantium, and how. Contributors are Justine M. Andrews, Leslie Brubaker, Annemarie W. Carr, Elina Dobrynina, Maria Evangelatou, Maria Laura Tomea Gavazzoli, Markos Giannoulis, Cecily Hennessy, Ioli Kalavrezou, Maja Kominko, Sofia Kotzabassi, Stavros Lazaris, Kallirroe Linardou, Vasileios Marinis, Kathleen Maxwell, Georgi R. Parpulov, Nancy P. Ševčenko, Jean-Michel Spieser, Mika Takiguchi, Courtney Tomaselli, Marina Toumpouri, Nicolette S. Trahoulia, Vasiliki Tsamakda, and Elisabeth Yota.

Although perceived since the sixteenth century as the most impressive literary achievement of Byzantine culture, historical writing nevertheless remains little studied as literature. Historical texts are still read first and foremost for nuggets of information, as main sources for the reconstruction of the events of Byzantine history. Whatever can be called literary in these works has been considered as external and detachable from the facts. The 'classical tradition' inherited by Byzantine writers, the features that Byzantine authors imitated and absorbed, are regarded as standing in the way of understanding the true meaning of the text and, furthermore, of contaminating the reliability of the history. Chronicles, whose language and style are anything but classicizing, have been held in low esteem, for they are seen as providing a mere chronological exposition of events. This book presents a set of articles by an international cast of contributors, deriving from papers delivered at the 40th annual Spring Symposium of Byzantine Studies. They are concerned with historical and visual narratives that date from the sixth to the fourteenth century, and aim to show that literary analyses and the study of pictorial devices, far from being tangential to the study of historical texts, are preliminary to their further study, exposing the deeper structures and purposes of these texts.

These studies look at general problems of reading Byzantine literature, at literacy practices and the literary process, but also at individual texts. The past thirty years have seen a revolution in the way Byzantine literature has been viewed: no longer is it considered a decadent form of classical literature or a turgid precursor of modern Greek literature. There are still prejudices to overcome: that there was no literary public, or that Byzantium had no drama or humour, but Byzantine texts are now read as literature in the social context of literacy and book culture. One genre is treated here more fully: the letter (Derrida said that letters represent all literature). In these studies epistolography is examined from the point of view of genre, of originality, of communication and as evidence for political history. Other genres touched on include the novel, historiography, parainesis, panegyric, and hagiography. The section on literary process includes essays on genre, patronage and rhetoric, and the section on literacy practices deals with both writing and reading. The collection includes one unpublished lecture which acts as introduction, and additional notes and comments.