After centuries of near silence, Latin poetry underwent a renaissance in the late fourth and fifth centuries CE evidenced in the works of key figures such as Ausonius, Claudian, Prudentius, and Paulinus of Nola. This period of resurgence marked a milestone in the reception of the classics of late Republican and early imperial poetry. In Classicism and Christianity in Late Antique Latin Poetry, Philip Hardie explores the ways in which poets writing on non-Christian and Christian subjects used the classical traditions of Latin poetry to construct their relationship with Rome’s imperial past and present, and with the by now not-so-new belief system of the state religion, Christianity. The book pays particular attention to the themes of concord and discord, the "cosmic sense" of late antiquity, novelty and renouatio, paradox and miracle, and allegory. It is also a contribution to the ongoing discussion of whether there is an identifiably late antique poetics and a late antique practice of intertextuality. Not since Michael Robert's classic The Jeweled Style has a single book had so much to teach about the enduring power of Latin poetry in late antiquity.

"After centuries of near silence, Latin poetry underwent a renaissance in the late fourth and fifth centuries CE in the works of such key figures as Ausonius, Claudian, Prudentius, and Paulinus of Nola. This period of resurgence was a milestone in the reception of the classics of late Republican and early imperial poetry. In Classicism and Christianity in Late Antique Latin Poetry, Philip Hardie explores the ways in which poets writing on non-Christian and Christian subjects used the classical traditions of Latin poetry to figure their relationship with Rome's imperial past and present, and with the by now not-so-new belief system of the state religion, Christianity. The book pays particular attention to the themes of concord and discord, the 'cosmic sense' of late antiquity, novelty and renouatio, paradox and miracle, and allegory. It is also a contribution to the ongoing discussion of whether there is an identifiably late antique poetics, and a late antique practice of intertextuality. Not since Michael Roberts' classic The Jeweled Style has a single book had so much to teach about the enduring power of Latin poetry in late antiquity--Provided by publisher.

Although Greek and Latin poetry from late antiquity each poses similar questions and problems, a real dialogue between scholars on both sides is even now conspicuously absent. A lack of evidence impedes discussion of whether there was direct interaction between the two language traditions. This volume, however, starts from the premise that direct interaction should never be a prerequisite for a meaningful comparative and contextualising analysis of both late antique poetic traditions. A team of leading and emerging scholars sheds new light on literary developments that can be or have been regarded as typical of the period and on the poetic and aesthetic ideals that affected individual works, which are both classicizing and 'un-classical' in similar and diverging ways. This innovative exploration of the possibilities created by a bilingual focus should stimulate further explorations in future research.

Classicizing Christian poetry has largely been neglected by literary scholars, but has recently been receiving growing attention, especially the poetry written in Latin. One of the objectives of this volume is to redress the balance by allowing more space to discussions of Greek Christian poetry. The contributions collected here ask how Christian poets engage with (and are conscious of) the double reliance of their poetry on two separate systems: on the one hand, the classical poetic models and, on the other, the various genres and sub-genres of Christian prose. Keeping in mind the different settings of the Greek-speaking East and the Latin-speaking West, the contributions seek to understand the impact of historical setting on genre, the influence of the paideia shared by authors and audiences, and the continued relevance of traditional categories of literary genre. While our immediate focus is genre, most of the contributions also engage with the ideological ramifications of the transposition of Christian themes into classicizing literature. This volume offers important and original case studies on the reception and appropriation of the classical past and its literary forms by Christian poetry.

The poetry of the late Roman world has a fascinating history. Sometimes an object of derision, sometimes an object of admiration, it has found numerous detractors and defenders among classicists and Latin literary critics. This volume explores the scholarly approaches to late Latin poetry that have developed over the last 40 years, and it seeks especially to develop, complement and challenge the seminal concept of the 'Jeweled Style' proposed by Michael Roberts in 1989. While Roberts's monograph has long been a vade mecum within the world of late antique literary studies, a critical reassessment of its validity as a concept is overdue. This volume invites established and emerging scholars from different research traditions to return to the influential conclusions put forward by Roberts. It asks them to examine the continued relevance of The Jeweled Style and to suggest new ways to engage it. In a joint effort, the nineteen chapters of this volume define and map the jeweled style, extending it to new genres, geographic regions, time periods and methodologies. Each contribution seeks to provide insightful analysis that integrates the last 30 years of scholarship while pursuing ambitious applications of the jeweled style within and beyond the world of late antiquity.

Noted scholars in the field explore the rich variety of late antique literature With contributions from leading scholars in the field, A Companion to Late Antique Literature presents a broad review of late antique literature. The late antique period encompasses a significant transitional era in literary history from the mid-third century to the early seventh century. The Companion covers notable Greek and Latin texts of the period and provides a varied overview of literature written in six other late antique languages. Comprehensive in scope, this important volume presents new research, methodologies, and significant debates in the field. The Companion explores the histories, forms, features, audiences, and uses of the literature of the period. This authoritative text: Provides an inclusive overview of late antique literature Offers the widest survey to date of the literary traditions and forms of the period, including those in several languages other than Greek and Latin Presents the most current research and new methodologies in the field Contains contributions from an international group of contributors Written for students and scholars of late antiquity, this comprehensive volume provides an authoritative review of the literature from the era.

This volume makes a powerful argument for epitome (combining textual dismemberment and re-composition) as a broad hermeneutic field encompassing multifarious historical, conceptual and aesthetical concerns. The contributors gather from across the globe to present case studies of the 'summing up' of cultural artefacts, literary and artistic, in epitomic writing, and as a collective they demonstrate the importance of this genre that has been largely overlooked by scholars. The volume is divided into five sections: the first showcases the broad range of fields from which epitomic analysis can be made, from classics to postmodernism to cultural memory studies; the second focuses in on epitome as dismemberment in writing from late antiquity to the modern day; the third considers a 'productive negativity' of epitomic writings and how they are useful tools for investigating the very borders and paradoxes of language; the fourth brings this to bear on materiality; the fifth considers re-composition as a counterpart to dismemberment and problematises it. Across the volume, examples are taken from important late antique writers such as Ausonius, Clement of Alexandria, Macrobius, Nepos, Nonius Marcellus and Symphosius, and from modern authors such as Antonin Artaud, Barthes, Nabokov and Pascal Quignard. Epitomic writings about art from decorated tabulae to sarcophagi are also included, as are epitomic images themselves in the form of manuscript illustrations that sum up their text.

Through an examination of paratextuality in late antique literature, this collection of essays reconsiders the importance of the written material that appears in the margins of ancient poetic texts. Paratexts such as headings, prefaces, letters et al. have largely been skimmed over or completely disregarded in favour of the main ancient work. However, there is now a new wave of scholarship that takes into consideration the reading of books in line with the different 'margins', or 'frames', and the structures (de-)constructed by them. A salient feature of late antique poetry is the presence of the paratextual. For example, the prefaces of Ausonius, Claudian, Avianus, Sidonius Apollinaris, and Venantius Fortunatus are studied in their own right by the contributors, who present new understandings and interpretations of the aims of these late antique writers. In keeping with its subject matter, this volume presents a multitude of approaches intended not only to look at, but rather to read and take seriously the paratextual material. The result is a reframing of our appreciation of the marginal matter, which has up until this point been overlooked.

The essays of Patristic Exegesis in Context examine the biblical exegesis of early Christians beyond the formal genre of biblical commentary. The past couple of decades have seen a broadening of perspective on the study of patristic exegesis; the phenomenon is increasingly situated within its various literary contexts and genres, and the definition of what counts as patristic exegesis is therefore widened. This volume thus situates itself within this emerging scholarly tradition, which aims not to give an account of exegetical strategies and methodologies as found primarily in exegetical commentaries and homilies, but to demonstrate the highly sophisticated nature of biblical exegesis in other genres, and the manifold uses to which this exegesis was put. Ancient Christian authors lived and breathed scripture; it served as their primary source of theological and liturgical vocabulary, their way of processing the world, their social ethic, and their mode of constructing self and communal identity. Scripture therefore permeates all ancient Christian literature, regardless of genre, and the various contexts in which interpretation of scripture took place resulted in a wide variety of uses of the church's authoritative texts. The essays in this volume demonstrate the interpretive skill, creativity, and sophistication of early Christian authors in a myriad of other early Christian genres, such as poetry, paraphrase, hymns, martyr accounts, homilies, prophetic vision accounts, monastic writings, argumentative treatises, encomia, apocalypses, and catenae. Accordingly, the volume aims to help the modern person, who is used to hearing the Bible explained in explicitly expository situations (for example, in academic commentaries or religious sermons) to become more habituated to ancient ways of interacting with and expounding the biblical text. These essays attempt to contextualize various types of patristic exegesis, in order for us to glimpse the complex and diverse uses of the Bible in this period.

This book is the first study to focus on a metaliterary interpretation of Maximianus’ Elegies, and aims to fill a major gap in international literature concerning the thoughts of the last love elegist on the evolution and renovation of the genre of love elegy during Late Antiquity. The book includes all known subjects of Maximianus’ poetry (e.g., the division of his work into six elegies, its attribution to Cornelius Gallus by Pomponius Gauricus in 1502, its reception in recent years, the intellectual milieu of the Ostrogothic Italy, the historical contextualization of his poetry, the Appendix Maximiani, the impact of the Augustan love elegy (and especially Ovid’s) upon it, etc.), in order to offer a more complete picture of it. However, the content of the book is predominantly prototype, as it examines subjects that have not previously been discussed in the past. These include: a) The generic interaction between the ‘host’ genre of love elegy, and several ‘guest’ genres (e.g., Roman comedy, epic, pastoral); b) The hidden metapoetic discourse regarding the genre of love elegy itself. The book is intended for scholars or students working on or interested in Roman love elegy and its generic evolution in Late Antiquity.