Classical Traditions in Modern Fantasy presents fifteen all-new essays on how fantasy draws on ancient Greek and Roman mythology, philosophy, literature, history, art, and cult practice. Ranging from harpies to hobbits, from Cyclopes to Cthulhu, the comparative study of Classics and fantasy reveals deep similarities between ancient and modern ways of imagining the world.

For all its concern with change in the present and future, science fiction is deeply rooted in the past and, surprisingly, engages especially deeply with the ancient world. Indeed, both as an area in which the meaning of "classics" is actively transformed and as an open-ended set of texts whose own 'classic' status is a matter of ongoing debate, science fiction reveals much about the roles played by ancient classics in modern times. Classical Traditions in Science Fiction is the first collection in English dedicated to the study of science fiction as a site of classical receptions, offering a much-needed mapping of that important cultural and intellectual terrain. This volume discusses a wide variety of representative examples from both classical antiquity and the past four hundred years of science fiction, beginning with science fiction's "rosy-fingered dawn" and moving toward the other-worldly literature of the present day. As it makes its way through the eras of science fiction, Classical Traditions in Science Fiction exposes the many levels on which science fiction engages the ideas of the ancient world, from minute matters of language and structure to the larger thematic and philosophical concerns.

Classical Traditions in Modern Fantasy presents fifteen all-new essays on how fantasy draws on ancient Greek and Roman mythology, philosophy, literature, history, art, and cult practice. Ranging from harpies to hobbits, from Cyclopes to Cthulhu, the comparative study of Classics and fantasy reveals deep similarities between ancient and modern ways of imagining the world.

Both passionate and artful, learned and bawdy, Catullus is one of the best-known and critically significant poets from classical antiquity. An intriguing aspect of his poetry that has been neglected by scholars is his interest in silence, from the pauses that shape everyday conversation to linguistic taboos and cultural suppressions and the absolute silence of death. In Silence in Catullus, Benjamin Eldon Stevens offers fresh readings of this Roman poet's most important works, focusing on his purposeful evocations of silence. This deep and varied "poetics of silence" takes on many forms in Catullus's poetic corpus: underscoring the lyricism of his poetry; highlighting themes of desire, immortality-in-culture, and decay; accenting its structures and rhythms; and, Stevens suggests, even articulating underlying philosophies. Combining classical philological methods, contemporary approaches to silence in modern literature, and the most recent Catullan scholarship, this imaginative examination of Catullus offers a new interpretation of one of the ancient world's most influential and inimitable voices.

The Oxford Handbook of Monsters in Classical Myth presents forty chapters about the unique and terrifying creatures from myths of the long-ago Near East and Mediterranean world, featuring authoritative contributions by many of the top international experts on ancient monsters and the monstrous. The first part provides original studies of individual monsters such as the Chimaera, Cerberus, the Hydra, and the Minotaur, and of monster groups such as dragons, centaurs, sirens, and Cyclopes. This section also explores their encounters with the major heroes of classical myth, including Perseus, Jason, Heracles, and Odysseus. The second part examines monsters of ancient folklore and ethnography, encompassing the restless dead, blood-drinking lamiae, exotic hybrid animals, the so-called dog-headed men, and many other unexpected creatures and peoples. The third part covers various interpretations of these creatures from multiple perspectives, including psychoanalysis, colonialism, and disability studies, with monster theory itself evident across the entire volume. The final part discusses reception of these ancient monsters across time and space--from the Middle Ages to the Renaissance to modern times, from Persia to Scandinavia, the Caribbean, and Latin America-and concludes with chapters considering the use and adaptation of ancient monsters in children's literature, science fiction, fantasy, and modern scientific disciplines. This Handbook is the first large-scale, inclusive guide to monsters in antiquity, their places in literature and art across the millennia, and their influence on later literature and thought.

For all its concern with change in the present and future, science fiction is deeply rooted in the past and, surprisingly, engages especially deeply with the ancient world. Indeed, both as an area in which the meaning of "classics" is actively transformed and as an open-ended set of texts whose own 'classic' status is a matter of ongoing debate, science fiction reveals much about the roles played by ancient classics in modern times. Classical Traditions in Science Fiction is the first collection in English dedicated to the study of science fiction as a site of classical receptions, offering a much-needed mapping of that important cultural and intellectual terrain. This volume discusses a wide variety of representative examples from both classical antiquity and the past four hundred years of science fiction, beginning with science fiction's "rosy-fingered dawn" and moving toward the other-worldly literature of the present day. As it makes its way through the eras of science fiction, Classical Traditions in Science Fiction exposes the many levels on which science fiction engages the ideas of the ancient world, from minute matters of language and structure to the larger thematic and philosophical concerns.

While scholars have often cited the influence of medieval texts and society on J.R.R. Tolkien's seminal fantasy creations, the role of the classical world - the literature and thought of ancient Greece and Rome - has received far less attention. This volume of essays explores various ways in which Tolkien's literary creations were shaped by classical epic, myth, poetry, history, philosophy, drama, and language. In making such connections, the contributors to this volume are interested not simply in source-hunting but in how a reception of the classical world can shape the meaning we derive from Tolkien's masterworks. The contributions to this volume by Philip Burton, Lukasz Neubauer, Giuseppe Pezzini, Benjamin Eldon Stevens, Graham Shipley, and several other scholars should pave the way for further discussions between classical studies and fantasy studies.

In 15 all-new essays, this volume explores how science fiction and fantasy draw on materials from ancient Greece and Rome, 'displacing' them from their original settings-in time and space, in points of origins and genre-and encouraging readers to consider similar 'displacements' in the modern world. Modern examples from a wide range of media and genres-including Philip Pullman's His Dark Materials and the novels of Helen Oyeyemi, the Rocky Horror Picture Show and Hayao Miyazaki's Spirited Away, and the role-playing games Dungeons and Dragons and Warhammer 40K-are brought alongside episodes from ancient myth, important moments from history, and more. All together, these multifaceted studies add to our understanding of how science fiction and fantasy form important areas of classical reception, not only transmitting but also transmuting images of antiquity. The volume concludes with an inspiring personal reflection from the New York Times-bestselling author of speculative fiction, Catherynne M. Valente, offering her perspective on the limitless potential of the classical world to resonate with experience today.

A FINALIST FOR THE 2020 WORLD FANTASY AWARD • Unearth the enchanting origins of fantasy fiction with a collection of tales as vast as the tallest tower and as mysterious as the dark depths of the forest. Fantasy stories have always been with us. They illuminate the odd and the uncanny, the wondrous and the fantastic: all the things we know are lurking just out of sight—on the other side of the looking-glass, beyond the music of the impossibly haunting violin, through the twisted trees of the ancient woods. Other worlds, talking animals, fairies, goblins, demons, tricksters, and mystics: these are the elements that populate a rich literary tradition that spans the globe. A work composed both of careful scholarship and fantastic fun, The Big Book of Classic Fantasy is essential reading for anyone who’s never forgotten the stories that first inspired feelings of astonishment and wonder. INCLUDING: *Stories by pillars of the genre like the Brothers Grimm, Hans Christian Andersen, Mary Shelley, Christina Rossetti, L. Frank Baum, Robert E. Howard, and J. R. R. Tolkien *Fantastical offerings from literary giants including Edith Wharton, Leo Tolstoy, Willa Cather, Zora Neale Hurston, Vladimir Nabokov, Hermann Hesse, and W.E.B. Du Bois *Rare treasures from Asian, Eastern European, Scandinavian, and Native American traditions *New translations, including fourteen stories never before in English PLUS: *Beautifully Bizarre Creatures! *Strange New Worlds Just Beyond the Garden Path! *Fairy Folk and Their Dark Mischief! *Seriously Be Careful—Do Not Trust Those Fairies!