Selected by Choice Magazine as an Outstanding Academic Title From Odysseus to Aeneas, from Beowulf to King Arthur, from the Mahâbhârata to the Ossetian "Nart" tales, epic heroes and their stories have symbolized the power of the human imagination. Drawing on diverse disciplines including classics, anthropology, psychology, and literary studies, this product of twenty years' scholarship provides a detailed typology of the hero in Western myth: birth, parentage, familial ties, sexuality, character, deeds, death, and afterlife. Dean A. Miller examines the place of the hero in the physical world (wilderness, castle, prison cell) and in society (among monarchs, fools, shamans, rivals, and gods). He looks at the hero in battle and quest; at his political status; and at his relationship to established religion. The book spans Western epic traditions, including Greek, Roman, Nordic, and Celtic, as well as the Indian and Persian legacies. A large section of the book also examines the figures who modify or accompany the hero: partners, helpers (animals and sometimes monsters), foes, foils, and even antitypes. The Epic Hero provides a comprehensive and provocative guide to epic heroes, and to the richly imaginative tales they inhabit.

Ollam (“ollav”), named for the ancient title of Ireland’s chief poets, celebrates the career of Tomás Ó Cathasaigh, Henry L. Shattuck Professor of Irish Studies at Harvard University, who is one of the foremost interpreters of the rich and fascinating world of early Irish saga literature. It is a complement to his own book of essays, Coire Sois, the Cauldron of Knowledge: A Companion to Early Irish Saga, also edited by Matthieu Boyd (University of Notre Dame Press, 2014), and a sequel to his classic monograph The Heroic Biography of Cormac mac Airt (Dublin Institute for Advanced Studies, 1977) and as such it begins to show the richness of his legacy. The essays in Ollam represent cutting-edge research in Celtic philology and historical and literary studies. They form three clusters: heroic legend; law and language; and poetry and poetics. The 21 contributors are among the best Celtic Studies scholars of their respective generations, whether they are rising stars or great professors at the finest universities around the world. The book has a Foreword by William Gillies, Emeritus Professor at the University of Edinburgh and former President of the International Congress of Celtic Studies, who also contributed an essay on courtly love-poetry in the Book of the Dean of Lismore. Other highlight include a new edition and translation of the famous poem Messe ocus Pangur bán; a suite of articarticles on the ideal king of Irish tradition, Cormac mac Airt; and studies on well-known heroes like Cú Chulainn and Finn mac Cumaill. This book will be a must-have, and a treat, for Celtic specialists. To nonspecialists it offers a glimpse at the vast creative energy of Gaelic literature through the ages and of Celtic Studies in the twenty-first century.

What does it mean to talk about law as theater, to speak about the "performance" of transactions as mundane as the sale of a pig or as agonizing as receiving compensation for a dead kinsman? In Dark Speech, Robin Chapman Stacey explores such questions by examining the interaction between performance and law in Ireland between the seventh and ninth centuries. Exposing the inner workings of the Irish legal system, Stacey examines the manner in which publicly enacted words and silences were used to construct legal and political relationships in a society where traditional hierarchies were very much in flux. Law in early Ireland was a verbal art, grounded as much in aesthetics as in the enforcement of communal norms. In contrast with modern law, no sharp distinction existed between art and politics. Visualizing legal events through the lens of procedure, Stacey helps readers recognize the creative, fluid, and inherently risky nature of these same events. While many historians have long realized the mnemonic value of legal drama to the small, principally nonliterate societies of the early Middle Ages, Stacey argues that the appeal to social memory is but one aspect of the role played by performance in early law. In fact, legal performance (like other more easily recognized forms of verbal art) created and transformed as much as it recorded.