This is a major study of conceptions of selfhood and personality in Homer, Greek tragedy, and philosophy. The focus in on norms of personality in Greek psychology and ethics. The key thesis is that, to understand Greek thinking of this type, we need to counteract the subjective andindividualistic aspects of our own thinking about the self. The book defines an 'objective-participant' conception of personality, symbolized by the idea of the person as an interlocutor in a series of types of psychological and ethical dialogue. The book is both an original contribution to thehistory of ideas of personality and the self and also offers sustained analysis and new interpretations of a number of important topics in Greek philosophy and literature. These topics include: Homeric decision-making; the problematic hero in Homer's Iliad and Greek tragedy; monologues ofself-division in Greek poetry; the tripartite division of the soul and ethical education in Plato's Republic; Aristotle's ideas about 'being yourself' and meeting the claims of others; Greek philosophical thinking about what it means to be fully 'human' or 'divine'. The book is shaped as a responseto recent work in the philosophy of mind, ethics, personhood, as well as in classical scholarship. Clear and non-technical, with all Greek translated, the book brings out the continuing importance of ancient Greek thinking for contemporary study of ideas of personality and selfhood.

Can tragic views of the human condition as known to Westerners through Greek and Shakespearean tragedy be identified outside European culture, in the Indian culture of Hindu epic drama? In what respects can the Mahabharata epic's and the Bhagavadgita's views of the human condition be called 'tragic' in the Greek and Shakespearean senses of the word? Tragic views of the human condition are primarily embedded in stories. Only afterwards are these views expounded in theories of tragedy and in philosophical anthropologies. Minnema identifies these embedded views of human nature by discussing the ways in which tragic stories raise a variety of anthropological issues-issues such as coping with evil, suffering, war, death, values, power, sacrifice, ritual, communication, gender, honour, injustice, knowledge, fate, freedom. Each chapter represents one cluster of tragic issues that are explored in terms of their particular (Greek, English, Indian) settings before being compared cross-culturally. In the end, the underlying question is: are Indian views of the human condition very different from Western views?

Four related themes in Greek thought are examined in this book: (1) personality and self, (2) ethics and values (3) individuals and communities, and (4) the idea of nature as a moral norm. Although the focus is on Greek philosophy (the Presocratics, Plato, Aristotle, and the Hellenistic period), links between philosophy and literature or the wider culture are also explored. The book combines a survey of recent scholarship on these topics with the author's own interpretations. It can be used by students or teachers of classical studies or philosophy as an introduction to key themes and issues in Greek ethics or psychology. One aspect of the subject given special emphasis is the relationship between ancient and modern ideas on the issues treated here. The book closes with a selective bibliography on modern work on Greek philosophy.

Despite the pervasive early Christian repudiation of pagan theatrical art, especially prior to Constantine, this monograph demonstrates the increasing attention of late-ancient Christian authors to the genre of tragedy as a basis to explore the complexities of human finitude, suffering, and mortality in relation to the wisdom, justice, and providence of God. The book argues that various Christian writers, particularly in the post-Constantinian era, were keenly devoted to the mimesis, or imaginative re-presentation, of the tragic dimension of creaturely existence more than with simply mimicking the poetics of the classical Greek and Roman tragedians. It analyses a whole array of hermeneutical, literary, and rhetorical manifestations of "tragical mimesis" in early Christian writing, which, capitalizing on the elements of tragedy already perceptible in biblical revelation, aspired to deepen and edify Christian engagement with multiform evil and with the extreme vicissitudes of historical existence. Early Christian tragical mimetics included not only interpreting (and often amplifying) the Bible's own tragedies for contemporary audiences, but also developing models of the Christian self as a tragic self, revamping the Christian moral conscience as a tragical conscience, and cultivating a distinctively Christian tragical pathos. The study culminates in an extended consideration of the theological intelligence and accountability of "tragical vision" and tragical mimesis in early Christian literary culture, and the unique role of the theological virtue of hope in its repertoire of tragical emotions.

This is the fourth volume in the series Studies in Ancient Greek Narrative. The book deals with the narratological concepts of character and characterization and explores the textual devices used for purposes of characterization by ancient Greek authors from Homer to Heliodorus.

Character and the Individual Personality in English Renaissance Drama: Tragedy, History, Tragicomedy studies instantiations of the individualistic character in drama, Shakespearean and non-Shakespearean, and some of the Renaissance ideas allowing for and informing them. Setting aside such fraught questions as the history of Renaissance subjectivity and individualism on the one hand and Shakespearean exceptionalism on the other, we can find that in some plays, by a range of different authors and collaborators, a conception has been evidenced of who a particular person is, and has been used to drive the action. This evidence can take into account a number of internal and external factors that might differentiate a person, and can do so drawing on the intellectual context in a number of ways. Ideas with potential to emphasize the special over the general in envisioning the person might come from training in dialectic (thesis vs hypothesis) or in rhetoric (ethopoeia), from psychological frameworks (casuistry, humor theory, and their interpenetration), or from historiography (exemplarity). But though they depicted what we would call personality only intermittently, and with assumptions different from our own about personhood, dramatists sometimes made a priority of representing the workings of a specific mind: the patterns of thought and feeling that set a person off as that person and define that person singularly rather than categorically. Some individualistic characters can be shown to emerge where we do not expect, such as with Fletcherian personae like Amintor, Arbaces, and Montaigne of The Honest Man’s Fortune; some are drawn by playwrights often uninterested in character, such as Chapman’s Bussy D’Ambois, Jonson’s Cicero, and Ford’s Perkin Warbeck; and some appear in being constructed differently from others by the same author, as when Webster’s Bosola is set in contrast to Flamineo, and Marlowe’s Faustus is set against Barabas. But Shakespearean characters are also examined for the particular manner in which each troubles the categorical and exhibits a personality: Othello, Good Duke Humphrey, and Marc Antony. Published by University of Delaware Press. Distributed worldwide by Rutgers University Press.

Argues compellingly for a new approach to ancient narrative which goes beyond narratology and is alert to its specific logic.