Libros de Literatura, Clásicos grecolatinos, página 2 de 27

This volume is conceived as a complement to another Middle English Texts series text, Sherry Reames Middle English Legends of Women Saints. This selection is intended to be broadly representative of saints lives in Middle English and of the classic types of hagiographic legend as these were presented to the lay public and less-literate clergy of late medieval England.

Fitted with ample introductions, notes, and glosses, this volume will make an excellent text for a class of any level on Middle English romance. This excellent edition includes King Horn, Havelok the Dane, Bevis of Hampton, and Athelston. These romances all deal with the Matter of Britain-that is, they celebrate action and adventure tales taking place in England. Featuring all the hallmarks of a good romance, these works include disinherited nobles, thrilling battles, love stories, dragons, and all sorts of marvels and adventures. Spanning the mid thirteenth to the late fourteenth century, these works provide an excellent cross section of the wonderful world of Middle English romances featuring the escapades of their fantastical countrymen.

British Library MS Harley 2253 is one of the most important literary works to survive from the English medieval era. In rarity, quality, and abundance, its secular love lyrics comprise an unrivaled collection. Intermingled with them are contemporary political songs as well as delicate lyrics designed to inspire religious devotion.

Jaufre is a lively, engaging and at times comedic tale of a knight from King Arthurs court. The young hero encounters all manner of unpleasant adversaries including giants and a demon knight, finds true love in the form of an independent, wealthy and hot-tempered heiress, and is tricked into going to the rescue of an underwater fairy. This story, dedicated to a king of Aragon and told in Occitan, was first set down in writing in the thirteenth century but does not appear to have reached English-speaking readers until the late nineteenth century. It was, however, originally intended for oral performance rather than for solitary readers. This new adaptation is an attempt to capture the spirit of the original Occitan, keeping close to the way it was told, and to bring the story to life in the hope that other storytellers will once again tell the tale of Jaufre and new listeners will enjoy his exploits.

Before the Wycliffite Bible in the 1380s, one of the only complete books of the Bible to be translated into Middle English was the Book of Revelation. The English Apocalypse, translated from the French in the early 14th century, must have been well known to the later translators, as it appears in 18 extant manuscripts, sometimes alongside Wycliffite material. This edition reproduces, for the first time, a copy of the English Apocalypse, which actually replaced the Book of Revelation at the end of a Wycliffite New Testament.

The Iliad presents superhuman heroes and superhuman rage, brutal death, unbounded sorrow, the craving for revenge, the shortness of life, the glory quest, and, ultimately, reconciliation and forgiveness. As human nature is unchanging, the Iliads themes concern us as much today as they did Homers audiences 2,700 years ago. Not for nothing did Ezra Pound observe that "a civilization was founded on Homer."The Iliad is always relevant, even as it is timeless. Of interest to readers in every generation, it is a classic in the root sense. Homer was "the Bible of the Greeks." He was their mythology and history (still fairly merged at the time), their religion, their storehouse of ethics and exempla under an Olympian dispensation. And while the Odyssey is the more popular of Homers epics, the Iliad is the more profound.This is not merely another new translation of Homers Iliad. It is sooner and foremost Homers Iliad in a Classical Translation the first-ever into a consistently 12-syllable line and, at the same time, the longest such work in the English language (the Iliad consisting of 15,639 lines in Greek). This translation by Jeffrey M. Duban uses a mildly archaizing style and other poetic devices to suggest the antiquity and flavor of Homeric composition. Like the original, it is both alliterative and polysyllabic excessive monosyllabism the scourge of many a modern translation. Duban further observes epic decorum with recourse to poetic diction. Decorum entails the avoidance of colloquialisms and commonplaces, again in contrast to other translations."Through its masterful deployment of archaism, inversion, elevated diction, and other techniques of aesthetic distanciation, Dubans uniquely metered rendering re-Homerizes the Iliad, as it were, casting its remoteness and peculiarity into sharp relief." Robert Pogue Harrison, Rosina Pierotti Professor in Italian Literature, Stanford University, Author, The Body of Beatrice (1988)"While Homers style can be plain and direct, it is also often very grand and even, at times, ornate. You will find plainness in many modern translations of Homer, but you will likely search in vain for elevation. In his spirited rendering of the Iliad, Jeffrey Duban aims high. Through a carefully crafted use of heightened poetic diction and a consistent metrical formalism, Duban offers us, in English verse, a singular version of Homers epic poem." Steven Shankman, University of Oregon, Author, Popes Iliad: Homer in the Age of Passion (1983), Editor, Popes Iliad (Penguin ed., 1996)"Like the campfires scene concluding Book 8, Dubans Iliad, with the antique luster of burnished bronze, glints smartly across the plain. Think what you will of the contemporary or new translations aflood the market, this one, classically conceived and executed, is special. Duban does not merely translate but conveys his vision for the Iliad." C. J. Mackie, La Trobe University, Author, Rivers of Fire: Mythic Themes in Homers Iliad (2008)

ISCUA was the 1st Symposium of Conservation for Underwater Archaeology (ISCUA), held in 2019 in the Formentera island. It was organized by the Institut Balear d"Estudis en Arqueología Marítima (IBEAM) in collaboration with the Council of Formentera. That it served as a platform to disseminate leading research in the preservation of our maritime cultural heritage. This Symposium was aims to continue with the training of the youngest generations in the field, as well as to create future links between differents institutions and invited specialists. This book, is the result of the best reunion ever.

This anthology of twenty medieval tales contains a representative selection of the various kinds of short narrative in verse that were transmitted together in German manuscript collections from the later thirteenth century onwards. They include religious miracle-tales, comic tales, moral-didactic tales, and courtly tales. Considered together, they offer an insight into how medieval poets tried to entertain as well as instruct their audiences in matters of faith and everyday conduct, and just what it was that made medieval listeners (and readers) laugh. The translations have been taken from DVN vol. 5 (Deutsche Versnovellistik des 13. bis 15. Jahrhunderts, ed. by Klaus Ridder and Hans-Joachim Ziegeler) and revised for the general reader; they are presented here for the first time with a commentary and notes.

This anthology of twenty medieval tales contains a representative selection of the various kinds of short narrative in verse that were transmitted together in German manuscript collections from the later thirteenth century onwards. They include religious miracle-tales, comic tales, moral-didactic tales, and courtly tales. Considered together, they offer an insight into how medieval poets tried to entertain as well as instruct their audiences in matters of faith and everyday conduct, and just what it was that made medieval listeners (and readers) laugh. The translations have been taken from DVN vol. 5 (Deutsche Versnovellistik des 13. bis 15. Jahrhunderts, ed. by Klaus Ridder and Hans-Joachim Ziegeler) and revised for the general reader; they are presented here for the first time with a commentary and notes.

A Eneida é a obra-prima de Virgílio e o épico nacional da antiga Roma. Escrito no século I a.C., conta a saga de Eneias, um troiano que é salvo dos gregos em Troia e viaja errante pelo Mediterrâneo a

El Decamerón, escrito por Giovanni Boccaccio en el siglo XIV, es una de las obras maestras de la literatura italiana y universal. La obra se compone de cien cuentos narrados en un marco común: un grupo de diez jovenes siete mujeres y tres hombres huye de Florencia para refugiarse en una villa campestre, escapando de la peste negra que devasta la ciudad. Durante diez jornadas, cada miembro del grupo relata una historia diaria, lo que suma un centenar de narraciones. Los cuentos abarcan una gran variedad de temas: amor, ingenio, fortuna, deseo, engaños, satiras sociales y criticas a la hipocresia de la Iglesia y de la sociedad medieval. Boccaccio alterna tonos comicos, tragicos y eroticos, ofreciendo un retrato vivo de las costumbres y mentalidades de su tiempo. La estructura del Decameron es innovadora, pues combina el marco narrativo con relatos autonomos que mantienen la unidad gracias a la dinamica de los personajes narradores. La obra influyo profundamente en la literatura posterior, inspirando a autores como Chaucer en Los cuentos de Canterbury y Shakespeare en algunas de sus comedias. Mas alla de su valor literario, el Decameron constituye un testimonio cultural que refleja la tension entre la moral tradicional y la naciente vision humanista del Renacimiento.

La Ilíada, atribuida a Homero, es una epopeya griega que narra un episodio crucial de la guerra de Troya, durante el décimo año del conflicto entre aqueos y troyanos. La historia comienza con la ira de Aquiles, el mas grande de los heroes griegos, despues de que el rey Agamenon le arrebata a su cautiva Briseida. Ofendido, Aquiles se retira del combate, lo que debilita a las fuerzas aqueas. Sin su apoyo, los troyanos, liderados por Hector, principe de Troya, ganan ventaja y amenazan con destruir la flota griega. Para revertir la situacion, Patroclo, amigo intimo de Aquiles, entra en batalla disfrazado con la armadura del heroe. Sin embargo, es asesinado por Hector. Lleno de dolor y furia, Aquiles regresa al campo de batalla para vengar a su compañero. En un duelo epico, mata a Hector y profana su cadaver, arrastrandolo alrededor de las murallas de Troya. La epopeya culmina con un acto de humanidad: el anciano rey Priamo, padre de Hector, suplica a Aquiles por el cuerpo de su hijo. Conmovido, Aquiles accede a devolverlo, mostrando que incluso en la guerra hay espacio para la compasion. La obra explora la colera, el honor y el destino inevitable de los hombres.

Colección completa de las obras de Moratín, compuestas por sus comedias, sus traducciones y su poesía, sus discursos y otros textos. Este libro, en cuya edición participó el propio autor, es la mejor entrada al teatro neoclasico en España, de mano de uno de los dramaturgos mas importantes de su epoca. Cuarto volumen de la coleccion de obras completas de Moratin. Este tomo se dedica por entero a la traduccion de Hamlet que realizo el dramaturgo, ademas de un ensayo comentando la obra de Shakespeare.

Gure buruaren definizio nagusitzat biktimismoa hartu eta gure zauriari miazka bizi ez diren hirikideak traidore jotzen ditugu. Ahaztu nahi luketen biktimei ez diegu ahazten uzten, ahazteko eskubidea oroitzekoa bezain errespetagarria eta osasungarria den arren. Ezin da herria amaigabeko doluan bizitzera behartu. Biktimaren oinazeak ezin du zuzenbidea erabaki. Baina horixe ari dira bultzatzen iraganeko minak pribilegio iturri gisa esplotatu eta oraingo emantzipazio bideak oztopatzen dituztenak.Hainbeste biktima dauzkan herri batean, iraganak eta oinazeen memoriak erabaki behar baldin badute oraina eta etorkizuna, orduan sekula santan ezingo dugu elkarbizitza sano samarra abiarazi. Soseguak, askatasunak eta alaitasunak oroimena fintzea eta arintzea eskatzen baitu.Esanguratsua da Jaques Le Goff-ek azpimarratu datua: Alemania naziak eta Italia faxistak iritsi zuten iragana oroiberritzeko grinaren gailurra. Nori komeni zaio ibiliegia dugun bide horri eustea? Ez al zaigu heldu oroimena arintzen eta fintzen ikasten hasteko ordua? Todorovek dioenez, memoria, sagaratuz gero, antzu bilakatzen baita.

This volume presents excerpts and translations of three thirteenth-century South German verse chronicles: Rudolf von Emss Weltchronik, the anonymous Christherre-Chronik, and the Weltchronik of Jans Enikel. These three works are close in language, in date, and in conception, yet they also differ significantly, representing the perspectives of three distinct sections of medieval society: courtly, monastic, and urban. The excerpts have been chosen from the beginning of Rudolfs chronicle, the middle of the Christherre-Chronik and the end of Enikel, so that taken together they give something of an impression of the chroniclers arrangement of material in a continuum from the beginning to the end of history.

This volume would comprise a great unit on anticlerical poetry in late medieval England, collecting Piers the Plowmans Crede, The Plowmans Tale, Jack Upland, Friar Daws Reply, Uplands Rejoinder, and Why I Cant Be a Nun. These Middle English poems attack ecclesiastical corruption; most of the poems were written by disgruntled Lollards about clerics and friars in the late fourteenth or early fifteenth century. Piers the Plowmans Crede deals with a poor man trying to learn the Apostles Creed from friars, who cannot teach him and only want his money; eventually the man can only learn the creed from Piers the Plowman. The Plowmans Tale casts an anticlerical tale in the mold of one of the Canterbury Tales. Jack Upland, Friar Daws Reply, and Uplands Rejoinder comprise a debate over the hypocrisy of friars. Meanwhile, Why I Cant Be a Nun decries the sins of nuns in convents. These texts are well glossed and include introductions and copious notes, making them approachable for students of Middle English of any level of experience.

Se recogen en esta nueva Antología veinticuatro pasajes escogidos de la Ilíada, que pretenden ofrecer un panorama representativo del conjunto de la obra y de sus distintos tipos de escenas; cada uno va precedido de una introduccion contextualizadora, que presenta y valora el pasaje ubicandolo dentro del canto en el que aparece, y va seguido de un conciso comentario sobre el texto griego que, aparte de aclarar cuestiones de tipo gramatical, quiere ser ante todo un comentario literario que ponga el foco en las virtudes poeticas y en el valor espiritual de la epopeya. El volumen se completa con dos apendices, uno gramatical, sobre los rasgos principales del rico dialecto homerico, y otro metrico, sobre el hexametro y la dimension ritmica de la obra.Sin perjuicio de que el lector general pueda sacar algun provecho de su lectura, el objetivo es que el estudiante de griego pueda familiarizarse de forma rapida y fiable con la lengua, el estilo y, en definitiva, con el irresistible atractivo de la obra mayor de la literatura griega antigua, que, veintisiete siglos despues de su creacion, sigue siendo tan sorprendente y viva como cuando se compuso.Jorge Bergua Cavero es profesor de griego en la Universidad de Malaga. Su ultimo libro publicado es La voz cantada. De la epica a los cantautores (Comares, 2019).

Por primera vez en un solo volumen, dos de los grandes relatos inspirados en la extraordinaria empresa conquistadora de Alejandro Magno, prologadas y anotadas por el helenista Carlos García Gual.Las dos obras que integran este libro, Vida y hazañas de Alejandro Magno y Nacimiento, hazañas y muerte de Alejandro de Macedonia, se situan entre la biografia, la leyenda y la historia del gran conquistador del Oriente, pero son de estilos muy distintos. La primera, firmada por Pseudo Calistenes y construida con elementos heterogeneos relato historico, relaciones epistolares fingidas, cuentos fabulosos es una obra miscelanea, a medio camino entre la biografia y el genero novelesco, que gozo de gran exito en la Antiguedad tardia y hasta bien entrada la Edad Media. En la segunda, de autor anonimo y basada en la primera, el relato transmitido oralmente durante siglos toma por primera vez forma impresa en la Venecia de mediados del siglo XVII, convirtiendose en un gran exito popular con mas de cuarenta reimpresiones a lo largo de los dos siglos posteriores. Garcia Gual subraya en este volumen fundamental y exento de pretensiones academicas, la excepcional e imperecedera difusion del texto de Pseudo Calistenes en diversas lenguas y culturas, desde la epoca antigua hasta el Medievo tardio.

The Banquet explores the fragile, intricate links between language and longing how words can reconstruct great cities out of memories and dreams, tear them apart, or carry them from one place to another, as if each city, house and chamber were made of sonic and visual images rather than walls and bricks. Moving between the worlds of philosophy, theatre and poetry from Dantes Florence to Wittgensteins Cambridge; from Tom Stoppards theatre stage to the harsh landscapes of Rimbauds poetryThe Banquet explores the ever-growing tensions between words and action, knowledge and ethics.

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