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ISBN-10: 1444332724

ISBN-13: 9781444332728

An authoritative review and worthwhile source for college kids and students of Roman heritage and Latin literature throughout the reign of Nero.
• the 1st booklet of its variety to regard this period, which has won in reputation in fresh years
• Makes a lot very important examine to be had in English for the 1st time
• incorporates a stability of latest examine with demonstrated serious lines
• bargains an strange breadth and variety of fabric, together with vast remedies of politics, management, the imperial courtroom, paintings, archaeology, literature and reception studies
• incorporates a mixture of demonstrated students and groundbreaking new voices
• comprises distinctive maps and illustrations

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Extra resources for A Companion to the Neronian Age (Blackwell Companions to the Ancient World)

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Cambridge. Dewar, M. J. (1991), ‘‘Nero on the Disappearing Tigris,’’ Classical Quarterly 40: 269–72. Dinter, M. (2012), Anatomizing Civil War. Studies in Lucan’s Epic Techinque. Ann Arbor. C. C. Firebaugh. New York. Fitch J. , ed. and trans. (2004). Seneca: Oedipus; Agamemnon; Thyestes; Hercules on Oeta and Octavia [Loeb Classical Library 78]. Cambridge, MA. Gowing, A. M. (1997), ‘‘Cassius Dio on the Reign of Nero,’’ in W. 3 Sprache und Literatur (einzelne Autoren seit der hadrianischen Zeit und Allgemeines zur Literatur des 2.

Were these operatic scenes traditional settings of favorite Euripidean and postEuripidean tragic texts? They were performed in Greek. Hall (2002) cites both instances of papyri with traditional Euripidean settings, and named citharodoi who composed their own settings for the inherited text. These performances would be in character (hence Nero put on masks shaped in his own image or that of the woman he loved at the time; cf. 3). Like tragic monodies they would be accompanied by a piper. In contrast the citharode was a virtuoso.

Braund, Maes in this volume). Squire shows how even the ruins themselves of Neronian material culture spawned a new and striking obsession with the ‘‘grotesque’’ that would structure and condition the evolution of figure and representation in the Renaissance and beyond. Ultimately, then, the term ‘‘Neronian’’ works both ways: undisputedly part of a cultural machinery, undeniably ‘‘a product of its times,’’ the literature and material culture of Neronian Rome is, suitably enough, also a transgressive force to be reckoned with, one paradoxically impossible to pin down within easy categories of definition or periodization.

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A Companion to the Neronian Age (Blackwell Companions to the Ancient World)


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