Liverpool Classical Monthly

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First-person poetry is a familiar genre in Latin literature. Propertius, Catullus, and Horace deployed the first-person speaker in a variety of ways that either bolster or undermine the link between this figure and the poet himself. In I, the Poet, Kathleen McCarthy offers a new approach to understanding the ubiquitous use of a first-person voice in Augustan-age poetry, taking on several of the central debates in the field of Latin literary studies—including the inheritance of the Greek tradition, the shift from oral performance to written collections, and the status of the poetic "I-voice." In light of her own experience as a twenty-first century reader, for whom Latin poetry is meaningful across a great gulf of linguistic, cultural, and historical distances, McCarthy positions these poets as the self-conscious readers of and heirs to a long tradition of Greek poetry, which prompted them to explore radical forms of communication through the poetic form. Informed in part by the "New Lyric Studies," I, the Poet will appeal not only to scholars of Latin literature but to readers across a range of literary studies who seek to understand the Roman contexts which shaped canonical poetic genres.

"It is the best of Xenophon, it is the worst of Xenophon. Readers looking for a carefully researched, well balanced, and reliable narrative of Greek affairs from 404 to 395 (BC) will be disappointed"- the author. The second part of the Hellenika, covering the decade after the end of the Peloponnesian War, is Xenophon at his best. It unfolds in a series of discrete, often dramatic, episodes: The Thirty at Athens, the campaigns of Thibron and Derkylidas in Asia Minor, the Spartan War against Elis, the accession of King Agesilaos, the conspiracy of Kinadon, the campaigns of Agesilaos in Asia Minor, the outbreak of war against Sparta in Greece, and Agesilaos' recall. It includes several of Xenophon's best speeches, some of his wittiest dialogue, and several choice turns of phrase. This edition follows the pattern of the Hellenika III.3.10 (Warminster 1989). The commentary tries both to interpret the text and to assess its historical accuracy. Throughout Krentz uses the rest of Xenophon's works to throw light on the Hellenika. Greek Text with facing-page translation.

,,Die ,Geschichte des Aristotelismus' (3 Bände, 1971-2001), die Paul Moraux auf der Basis seiner jahrzehntelangen Beschäftigung mit Aristoteles und des von ihm gegründeten Aristotelesarchivs geschaffen hat, ist ein Maßstäbe setzendes Meisterwerk der Philosophiegeschichte." Prof. Dr. Bernd Seidensticker, Freie Universität Berlin

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Epigraphy is a method of inferring and analyzing historical data by means of inscriptions found on ancient artifacts such as stones, coins, and statues. It has proven indispensable for archaeologists and classicists, and has considerable potential for the study of ancient history at the undergraduate and graduate levels. Epigraphy and the Greek Historian is a collection of essays that explore various ways in which inscriptions can help students reconstruct and understand Greek History. In order to engage with the study of epigraphy, this collection is divided into two parts, Athens and Athens from the outside. The contributors maintain the importance of epigraphy, arguing that, in some cases, inscriptions are the only tools we have to recover the local history of places that stand outside the main focus of ancient literary sources, which are often frustratingly Athenocentric. Ideally, the historian uses both inscriptions and literary sources to make plausible inferences and thereby weave together the disconnected threads of the past into a connected and persuasive narrative. Epigraphy and the Greek Historian is a comprehensive examination of epigraphy and a timely resource for students and scholars involved in the study of ancient history.

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