This book re-examines the most traditional area of classical scholarship, offering critical assessments of the current state of the field, its methods and controversies, and its prospects for the future in a digital environment. Each stage of the editorial process is examined, from gathering and evaluating manuscript evidence to constructing the text and critical apparatus, with particular attention given to areas of dispute, such as the role of conjecture. The importance of subjective factors at every point is highlighted. An Appendix offers practical guidance in reading a critical apparatus. The discussion is framed in a way that is accessible to non-specialists, with all Latin texts translated. The book will be useful both to classicists who are not textual critics and to non-classicists interested in issues of editing.

This book is a meditation on the role of psychoanalysis within Latin literary studies. Neither a sceptic nor a true believer, Oliensis adopts a pragmatic approach to her subject, emphasizing what psychoanalytic theory has to contribute to interpretation. Drawing especially on Freud's work on dreams and slips, she spotlights textual phenomena that cannot be securely anchored in any intention or psyche but that nevertheless, or for that very reason, seem fraught with meaning; the 'textual unconscious' is her name for the indefinite place from which these phenomena erupt, or which they retroactively constitute, as a kind of 'unconsciousness-effect'. The discussion is organized around three key topics in psychoanalysis - mourning, motherhood, and the origins of sexual difference - and takes the poetry of Catullus, Virgil, and Ovid as its point of reference. A brief afterword considers Freud's own witting and unwitting engagement with the idea of Rome.

How should we react as readers and as critics when two passages in a literary work contradict one another? Classicists once assumed that all inconsistencies in ancient texts needed to be amended, explained away, or lamented. Building on recent work on both Greek and Roman authors, this book explores the possibility of interpreting inconsistencies in Roman epic. After a chapter surveying Greek background material including Homer, tragedy, Plato and the Alexandrians, five chapters argue that comparative study of the literary use of inconsistencies can shed light on major problems in Catullus' Peleus and Thetis, Lucretius' De Rerum Natura, Vergil's Aeneid, Ovid's Metamorphoses, and Lucan's Bellum Civile. Not all inconsistencies can or should be interpreted thematically, but numerous details in these poems, and some ancient and modern theorists, suggest that we can be better readers if we consider how inconsistencies may be functioning in Greek and Roman texts.

Through a series of critical readings this book builds a picture of the Roman reaction to, and adoption of, the Greek poetry of the last three pre-Christian centuries. Although the poetry of the greatest figure of Greek poetry after Alexander, Callimachus of Cyrene, and his contemporaries stands at the heart of the book, the individual studies embrace the full scope of what remains of Hellenistic poetry, both high literary productions and the more marginal poetry, such as that in honour of the great goddess Isis. The singularity of the poetry of Catullus and Virgil, of Horace and the elegists, emerges as more rich and complex than has hitherto been appreciated. Individual studies concern the poets' declared attitudes to their own work, the figure of Dionysus/Bacchus and the poetry of world conquest, the creation of similes, and the conversion of Greek bucolic into Latin pastoral.

The memory of the Roman Republic exercised a powerful influence on several generations of Romans who lived under its political and cultural successor, the Principate or Empire. Empire and Memory explores how (and why) that memory manifested itself over the course of the early Principate. Making use of the close relationship between memoria and historia in Roman thought and drawing on modern studies of historical memory, this book offers case-studies of major imperial authors from the reign of Tiberius to that of Trajan (AD 14–117). The memory evident in literature is linked to that imprinted on Rome's urban landscape, with special attention paid to the Forum of Augustus and the Forum of Trajan, both which are particularly suggestive reminders of the transition from a time when the memory of the Republic was highly valued and celebrated to one when its grip had begun to loosen.

The Latin language is popularly imagined in a number of specific ways: as a masculine language, an imperial language, a classical language, a dead language. This book considers the sources of these metaphors and analyses their effect on how Latin literature is read. It argues that these metaphors have become idées fixes not only in the popular imagination but in the formation of Latin studies as a professional discipline. By reading with and more commonly against these metaphors, the book offers a different view of Latin as a language and as a vehicle for cultural practice. The argument ranges over a variety of texts in Latin and texts about Latin produced by many different sorts of writers from antiquity to the twentieth century.

This book explores the presence of slaves and slavery in Roman literature and asks particularly what the free imagination made of the experience of living with slaves, beings who both were and were not fellow humans. As a shadow humanity, slaves furnished the free with other selves and imaginative alibis as well as mediators between and substitutes for their peers. As presences that witnessed their owners' most unguarded moments they possessed a knowledge that was the object of both curiosity and anxiety. The book discusses not only the ideological relations of Roman literature to the institution of slavery, but also the ways in which slavery provided a metaphor for a range of other relationships and experiences, and in particular for literature itself. It is arranged thematically and covers a broad chronological and generic field.

Heroism has long been recognised by readers and critics of Roman epic as a central theme of the genre from Virgil and Ovid to Lucan and Statius. However the crucial role female characters play in the constitution and negotiation of the heroism on display in epic has received scant attention in the critical literature. This study represents an attempt to restore female characters to visibility in Roman epic and to examine the discursive operations that effect their marginalisation within both the genre and the critical tradition it has given rise to. The five chapters can be read either as self-contained essays or as a cumulative exploration of the gender dynamics of the Roman epic tradition. The issues addressed are of interest not just to classicists but also to students of gender studies.

This book examines the love elegies of the Roman poets Tibullus, Propertius and Ovid from the point of view of the way the meanings attributed to the poems arise out of the interests and preoccupations of the cultural situation in which they are read. Each study is centred around a reading of a poem or poems together with a discussion of a variety of sophisticated theoretical approaches. All Latin texts and terms are translated or closely paraphrased. Although the book concentrates on the work of the Roman elegists, the challenging insights it offers into the processes involved in the reading and appropriation of the texts of the past are relevant to scholars and students of classical literature in general, and its discussion of such key issues as history, textuality, representation, discourse, gender, ideology and metaphor will be of concern to those interested in literary theory and cultural studies.

This short book is a study of the epic tradition of the early Roman empire and specifically of the epic poems of Ovid, Lucan, Statius, Valerius Flaccus and Silius Italicus. It explores the use they made of Virgil's Aeneid, an epic interpreted not just as a monument to the heroic construction of the principate, but also as a problematical text that challenged succeeding epic poets to a reworking of the issues that it dramatised: the possibility of establishing a lasting age of peace, the relation between power and the sacred, the difficulties of distinguishing between good and its evil parodies, anxiety about imperial and poetic succession. The author draws on modern critical and theoretical approaches to argue for the vitality and interest of works which have all too often been relegated to a second division of literary history.