psychomachia (123 Ergebnisse)

Taschenbuch. Zustand: Neu. Prudentius, ¿Psychomachia¿ | Einleitung, Text, Übersetzung und Kommentar | Magnus Frisch | Taschenbuch | X | Deutsch | 2022 | De Gruyter | EAN 9783110991512 | Verantwortliche Person für die EU: Walter de Gruyter GmbH, De Gruyter GmbH, Genthiner Str. 13, 10785 Berlin, productsafety[at]degruyterbrill[dot]com | Anbieter: preigu.

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Zustand: Gut. S. 418-512; 8°; kart. Gutes Ex.; minimale Gebrauchsspuren. - Mehrsprachig. - ISSN 0017-1417. // INHALT : U. BIANCHI: W. Burkert, Griechische Religion der archaischen und klassischen Epoche. T.KRISCHER: F.Stoessl, Die Hiketiden des Aischylos als geistesgeschichtliches und theatergeschichtliches Phänomen. - H. WANKEL: Dinarchi orationes cum fragmentis. Ed. N. C. Conomis. - W.GÖRLER: K.Quinn, Texts and Contexts. The Roman Writers and their Audience. H.DAHLMANN: Varron, Satires Ménippées. Ed., trad, et comm. par J.-P.Cèbe. 5: Eüpev f) - Xoràç T6 rröiioc - TepovToSiSaoxaXoc. - M. von ALBRECHT: G.K.Galinsky, Ovid's Metamorphoses. An Introduction to the Basic - Aspects. - W. SEYFARTH: N.J.E.Austin, Ammianus on Warfare. An Investigation into Ammianus' - Military Knowledge. - P.F.BEATRICE: M.Smith, Prudentius' Psychomachia. A Reexamination. - W. SPEYER: B.Bischoff, Paläographie des römischen Altertums und des abendländischen - Mittelalters. - G.LORENZ: E.M.Craik: The Dorian Aegean. - H.KLOFT: B. Schleußner, Die Legaten der römischen Republik. Decem legati und ständige - Hilfsgesandte. - P.PETIT: J.Bleicken, Verfassungs-und Sozialgeschichte des römischen Kaiserreiches. R.WIEGELS: H.Pavis d'Escurac, La préfecture de l'annone service administratif impérial - d'Auguste à Constantin. - F. RAKOB: Ph.Leveau et J.-L. Paillet, L'alimentation en eau de Caesarea de Mauretanie et - l'aqueduc de Cherchell. - V.H.ELBERN: H.P.L'Orange et H.Torp, II Tempietto Longobardo di Cividale. - VORLAGEN UND NACHRICHTEN - A.H.F.GRIFFIN: P. Ovidius Naso, Tristia. Hrsg., iibers. und erkl. von G.Luck. Bd. II: Kommentar. Lfg. 3/4. - L.BRAUN: F.Bellandi, Etica diatribica e protesta sociale nelle satire di Giovenale. - A.STÄUBLE: Scenae suppositiciae oder Der falsche Plautus. Eingel., hrsg., übers, und kommentiert von L. Braun. - H.D. WESTLAKE: H.Meier-Welcker, Himera und die Geschicke des griechischen Sizilien. - J. S. RICHARDSON: K. Christ, Krise und Untergang der römischen Republik. - W.ECK: H.-G.Pflaum |, Les fastes de la province de Narbonnaise. Préface d'A.Grenier f. - E.B.HARRISON: D. Willers, Zu den Anfängen der archaistischen Plastik in Griechenland. - A.LINFERT: A.Stewart, Attika. Studies in Athenian Sculpture of the Hellenistic Age. - F.BROMMER: A.J.Pfiffig, Herakles in der Bilderwelt der etruskischen Spiegel. Umzeichnungen von J.Th. Ambrozy. - J.GARBSCH: H. Schönberger und H.-G. Simon, Das Kastell Okarben und die Besetzung der Wetterau seit Vespasian. Mit Beiträgen von D.Baatz und M.Hopf. - B.BRENK: N. Himmelmann, Das Hypogäum der Aurelier am Viale Manzoni. Ikonographische Beobachtungen. - H.HERTER: Albin Lesky. - K.SALLMANN: "KLASSISCHE ANTIKE UND BÜRGERLICHE GESELLSCHAFT IP. - B.KYTZLER: BERNAYS-TAGUNG IN TEL AVIV. - PERSONALIEN. - BIBLIOGRAPHISCHE BEILAGE NR. 3. Sprache: Deutsch Gewicht in Gramm: 550.

Zustand: Gut. S. 418-512; 8°; kart. Gutes Ex.; minimale Gebrauchsspuren. - Mehrsprachig. - ISSN 0017-1417. // INHALT : U.BIANCHI: W.Burkert Griechische Religion der archaischen und klassischen Epoche. T.KRISCHER: F. Stoessl Die Hiketiden des Aischylos als geistesgeschichtliches und theatergeschichtliches Phänomen. -- H.WANKEL: Dinarchi orationes cum fragmentis. Ed. N. C. Conomis. -- W. GÖRLER: K.Quinn Texts and Contexts. T-he Roman Writers and their Audience. H.DAHLMANN: Varron Satires Menippees. Ed. trad. et comm. par J.-P. Cebe. 5: Eöpev ) -- M. von ALBRECHT: G.K.Galinsky Ovid's Metamorphose. An Introduction to the Basic -- Aspects. -- W.SEYFARTH: N.J.E.Austin Ammianus on Warfare. An Investigation into Ammianus' -- Military Knowledge. -- P.F.BEATRICE: M.Smith Prudentius' Psychomachia. A Reexamination. -- W.SPEYER: B. Bischoff Paläographie des römischen Altertums und des abendländischen -- Mittelalters. -- G.LORENZ: E.M.Craik: The Dorian Aegean. -- H.KLOFT: B. Schleußner Die Legaten der römischen Republik. Decemjegati und ständige -- Hilfsgesandte. -- P.PETIT: J.Bkicken Verfassungs-und Sozialgeschichte des.romischen Kaiserreiches. R. WIEGELS: H.Pavis d'Escurac La prefecture de l'annone Service administratif imp^rial -- d'Auguste ä Constantin. -- F.RAKOB: Ph.Leveau et J.-L. Paillet L'alimentation en eau de Caesarea de Mauretanie et -- l'aqueduc de Cherchell. -- V.H.ELBERN: H.P.L'Orange et H.Torp II Tempietto Longobardo di Cividale. Sprache: Deutsch Gewicht in Gramm: 550.

Bibliotheksstempel und Bibliothekssignatur, sonst innen altersgemäß tadelloser Zustand. Softcover / Original kartoniert.

8°, Original-Broschur. Zustand: Sehr gut. Erste Ausgabe. VII, 136 SS. Rheinisches Archiv , 91. - Sehr gutes Exemplar. Sprache: Deutsch Gewicht in Gramm: 250.

XII, 310 pp. -TEXT IN ENGLISH- Sprache: Englisch Gewicht in Gramm: 600 8vo. Hardcover, ex-library copy with back label, library signs and stamps, binding partially a bit bumepd, inside fine.

Original brochure. Zustand: Gut. First U.S. Paperback Printing. 417 p., w/ images. From the library of Prof. Wolfgang Haase, long-time editor of ANRW and the International Journal of the Classical Tradition (IJCT). - Slightly soiled binding, otherwise in good condition. - Content: The gold seals on gallon cans of olive oil, guaranteeing that since some far-off date the precious contents have been considered worthy of the title, virgin, first pressing, are stamped with girls; female figures lie on the portals of stock exchanges and watch from the entrances of banks; the main doors of Macy's, the biggest department store in the world at the time it opened, carry a quartet of caryatids, holding hands in couples as young women used to do in friendship during the last century; the coins we handle in half the countries of Europe bear the heads and sometimes the full figures of imagined ideal states, of Republics and Empires and Victories, or of real queens who embody in their person the pretended unity of the nation; Justice raises her sword over law courts and the White Rock fairy promises the sparkle of fresh water inside the bottle she identifies. Every day, in public and private, we exchange goods, both as commodities and as ideas, as shared aspirations, desired proofs of status and badges of identity through the symbolic form of the female figure; and as we do so we are participating in a living allegory whose tap-root runs down deep in classical Christian culture. Allegory means 'other speech' {alia oratio), from alios, other, and agoreuein, to speak openly, to harangue in the agora', it signifies an open declamatory speech which contains another layer of meaning. It thus possesses a double intention: to tell something which conveys one meaning but which also says something else. Irony and enigma are among its constituents, but its category is greater than both, and it commands a richer range of possible moods. It is a species of metaphor, and, as a part of speech, has provided one of the most fertile grounds in human communication. This book attempts to examine a recurrent motif in allegory, the female form as an expression of desiderata and virtues. I hope, in spite of omissions, ignorance, unwarranted personal likes and dislikes, to throw some light on the plural significations of women's bodies and their volatile connections with changing conceptions of female nature. Justice is not spoken of as a woman, nor does she speak as a woman in mediaeval moralities or appear in the semblance of one above City Hall in New York or the Old Bailey in London because women were thought to be just, any more than they were considered capable of dispensing justice. Liberty is not represented as a woman, from the colossus in New York to the ubiquitous Marianne, figure of the French Republic, because women were or are free. In the nineteenth century, when so many of these images were made and widely disseminated, the opposite was conspicuously the case; indeed the French Republic was one of the last European countries to give its female citizens the vote. Often the recognition of a difference between the symbolic order, inhabited by ideal, allegorical figures, and the actual order, of judges, statesmen, soldiers, philosophers, inventors, depends on the unlikelihood of women practising the concepts they represent. Yet the first definition of allegory given by The Oxford English Dictionary is 'Description of a subject under the guise of another subject of aptly suggestive resemblance' (emphasis added). The female figure's aptly suggestive resemblance to the concepts and claims it has represented historically is the central paradox this book attempts to describe, and by describing, to understand. Although the absence of female symbols and a preponderance of male in a society frequently indicates a corresponding depreciation of women as a group and as individuals, the presence of female symbolism does not guarantee the opposite, as we can see from classical Athenian culture, with its subtly psychologized pantheon of goddesses and its secluded, unenfranchised women; or contemporary Catholic culture, with its pervasive and loving celebration of the Madonna coexisting alongside deep anxieties and disapproval of female emancipation. But a symbolized female presence both gives and takes value and meaning in relation to actual women, and contains the potential for affirmation not only of women themselves but of the general good they might represent and in which as half of humanity they are deeply implicated. Longinus, in the third century AD, in The Art of Rhetoric, provided a definition of allegory which sets out clearly how female imagery is coloured by the Platonist equivalence between the beautiful, the desirable and the good: Allegoria adorns speech by changing expression and signifying the same thing through a fresher expression of a different kind. For it is necessary that from his sense of hearing the judge be enticed by appetising and pleasant dressings and allurements, just as by rich and fine cookery, and this ought to be done by means of attentive and flattering expressions. For these are means of persuasion, weapons of delight and of art which is trained for persuasion. To lure, to delight, to appetize, to please, these confer the power to persuade: as the spur to desire, as the excitement of the senses, as a weapon of delight, the female appears down the years to convince us of the messages she conveys. 'Allegory? But allegory's meaningless today' - this has been the reaction of some people who have asked me about the subject of this book. Prudentius' Psychomachia or Lorris and Meung's Roman de la rose appear to many to be stiff, pedantic examples of a minor literary genre, now fossilized; it is hard to see the allegorical character of John Ford's Stage Coach, or of Star Wars, or of The Graduate, though it would not be at all hard to demonstrate that these films obey the requirements of hidden meaning and didactic convention about the conflict between good and.

Paperback. Zustand: Sehr gut. 385 p. Einband minimal berieben, mit Randläsuren, sonst gut und ohne Anstreichungen / Binding minimally rubbed, with marginal tears, otherwise good and without annotations. - In this reexamination of the allegorical dimensions of Paradise Lost, Catherine Gimelli Martin presents Milton's poem as a prophecy foretelling the end of one culture and its replacement by another. She argues that rather than merely extending the allegorical tradition as defined by Augustine, Dante, and Spenser, Milton has written a meta-allegory that stages a confrontation with an allegorical formalism that is either dead or no longer philosophically viable. By both critiquing and recasting the traditional form, Milton describes the transition to a new epoch that promises the possibility of human redemption in history. Martin shows how Paradise Lost, written at the threshold of the enormous imaginative shift that accompanied the Protestant, scientific, and political revolutions of the seventeenth century, conforms to a prophetic baroque model of allegory similar to that outlined by Walter Benjamin. As she demonstrates, Milton's experimentation with baroque forms radically reformulates classical epic, medieval romance, and Spenserian allegory to allow for both a naturalistic, empirically responsible understanding of the universe and for an infinite and incomprehensible God. In this way, the resulting poetic world of Paradise Lost is like Milton's God, an allegorical "ruin" in which the divine is preserved but at the price of a loss of certainty. Also, as Martin suggests, the poem affirmatively anticipates modernity by placing the chief hope of human progress in the fully self-authored subject. Maintaining a dialogue with a critical tradition that extends from Johnson and Coleridge to the best contemporary Milton scholarship, Martin sets Paradise Lost in both the early modern and the postmodern worlds. / Contents Preface Acknowledgments Introduction 1 "Dark with Excessive Bright" Miltons Metamorphosis of Allegory 2 Between the Visible and the Invisible Agency, Being, and Time in the Relative Universe 3 From the Allegorical Kosmos to Miltonic Space Rhetoric, Image, Code 4 Some Versions of Allegory The Personified Physics and Metaphysics of "One First Matter" 5 Milton's Meta-Allegory of Action Psychomachia, Battle, and Cosmogony 6 Demystifying Disguises Gender, Hierarchy, and the Allegory of Desire 7 Realism, Nominalism, and the Politics of Reading Adams Journeyfrom Orality to Literacy in Books 11 and 12 Conclusion: The Track Divine Protestant Ethics, Skeptical Rationalism, and Ruined Allegory Notes Index. ISBN 9780822319894 Sprache: Englisch Gewicht in Gramm: 702.

Zustand: New. In.

Zustand: Wie Neu. Zustandsbeschreibung: leichte Lagerspuren. Synpotischer Abdruck der Fassungen A, C, B und D. Kommentar und Motivgeschichte. Das Werk stellt einen Höhepunkt in der spätmittelalterlichen Darstellung von Tugenden und Lastern durch weibliche Personifikationen dar, deren allegorischer Kampf hier turnierähnliche Formen annimmt. Der Edition der Fassungen vorangestellt ist eine umfassende Untersuchung, die Überlieferung, Komposition, Inhalt, Publikum und Deutung des Werks beleuchtet und die Stellung insbesondere der Kampf- und Waffenallegorese (mithin des 'Geistlichen Streits') im Kontext der spätantiken und mittelalterlichen Literaturgeschichte analysiert. - Weibliche Personifikationen von Tugenden und Lastern in Form einer allegorischen Schlacht werden seit der Spätantike literarisch verarbeitet. Diese Entwicklung wurde im ausgehenden 4. Jahrhundert durch die "Psychomachia" des Prudentius eingeleitet. Seit Prudentius ist das Bild der geistigen Auseinandersetzung determiniert auf den Kampf zwischen den weiblichen Tugenden und Lastern. Nach Prudentius kommt es zu keiner eigenständigen und ausführlichen Bearbeitung dieses Themas mehr. Das ändert sich ab dem 12. Jahrhundert: Allegorische Streitgedichte der Todsünde werden seit Bernhard von Clairvaux verstärkt bearbeitet. Der "Geistliche Streit" bildet einen Höhepunkt in dieser Entwicklung, indem der Kampf turnierähnliche Formen annimmt. 252 Seiten, broschiert (Texte und Wissen; Band 2/Königshausen & Neumann 1995). Gewicht: 402 g - Softcover/Taschenbuch - Sprache: Deutsch.

Buch. Zustand: Neu. Neuware - Lively new translations of two classical works that offer wise advice about how to resist temptationHow to Have Willpower brings together two profound ancient meditations on how to overcome pressures that encourage us to act against our own best interests-Plutarch's essay On Dysopia or How to Resist Pressure and Prudentius's poetic allegory Psychomachia or How to Slay Your Demons. Challenging the idea that humans are helpless victims of vice, these works-introduced and presented in vivid, accessible new prose translations by Michael Fontaine, with the original Latin and Greek texts on facing pages-emphasize the power of personal choice and the possibility of personal growth, as they offer insights and practical advice about resisting temptation. In the spirit of the best ancient self-help writing, Plutarch, a pagan Greek philosopher and historian, offers a set of practical recommendations and steps we can take to resist pressure and to stop saying 'yes' against our better judgment. And in a delightfully different work, Prudentius, a Latin Christian poet, dramatizes the necessity to actively fight temptation through the story of an epic battle within the human soul between fierce warrior women representing our virtues and vices. Plutarch and Prudentius insist that we allow pressure or temptations to get the best of us. But they also agree that we can do something about it. And their wisdom can help.

Deuxieme Tirage Revu et Corrige. Gr. 8°. (= Collection des Universites de France). 211 S. Orig.pappband, meist unaufgeschnittenes Ex., an enigen Stellen teils unsauber aufgeschnitten, Name am Vorsatz, sonst gut. Sprache: Französisch, --------- Aurelius Prudentius Clemens, deutsch manchmal auch Prudenz, (* 348; gest. nach 405) war ein christlich-spätantiker Dichter. Psychomachia (deutsch: Kampf der Seele): beschreibt in knapp 1000 Hexametern den Kampf des personifizierten Glaubens, vereint mit den sieben Kardinaltugenden, gegen die sieben Laster um die menschliche Seele.

Zustand: Aceptable. Autor: John Beckwith. Editorial: Editorial Hermes. Fecha Edición: 1965. Materia/s: 401R61A0NB. Estado: BIEN. 14,5 x 20,5 cm. Lamina procedente de la obra: El primer arte medieval. Manuscrito.

Zustand: New. In.

Erste Auflage. 24 x 17 cm. 98 S., 2 Blatt. Illustrierter OKarton. Rücken etwas lichtrandig. Sonst sehr gutes Exemplar. Texte zur Ausstellung Saint-Etienne 13. Februar bis 26. März 1988 mit 5 montierten Farbtafeln. Text in deutscher und französischer Sprache.

Johns Hopkins University Press, Baltimore, 2008. VIII,259p. Pencil markings, underlinings and a few annotations. Original gilt titled burgundy cloth with dust wrps. ?Over the past fifty years, several studies have stressed Prudential? Christian remodelling of traditional Roman culture, through the polemic of his Contra Symmachus, the use of Roman civic language and terminology in the martyr-poems (Peristephanon), and the complex allusiveness to (above all!) Virgil in his poems generally. Marc Mastrangelo takes the argument simnifically further, identifying a fusion of Roman poetry and Christianity in Prudentius, and a grand narrative of Roman christian identity-construction, with strong contemporary application to the late fourth-century empire of Theodosius I, in the one poem of his generally assumed to lack a historical dimension, the allegorical battle between virtues and vices in (or of) the soul (Psychomachia). M. applies modern critical and cultural analysis, and is particularly influenced by Lyotard?s and later critics? work on the historical-cultural function of narrative; but his principal debt is to John D. Dawson?s complex study of Jewish-Christian biblical interpretation, Christian Figural Reading and the Fashioning of Identity (2002). (?). M.?s first chapter examines Virginian intertexts in Psych. (?) M. goes further, advancing a novel explanation of P.?s use of allusiveness; it is part of a project to create a new epic, at once roman and Christian. (?) The complementary chapters 2 and 3 are the most convincing of the book. Ch. 2 examines aspects of P.?s treatment of Roman and Christian history, and the influence of biblical narrative (?) upon it. Typologies play a central role here, and M. shows how Roman history is used, as well as the Jewish-Christian Bible. (?). Ch. 3 extends the range of discussion of the function of typology, to embrace aspects (moral, epistemological, theological) (?). M. brings out well the role of the language of narrative theology in the development of several typologies in Psych. Here the focus is on the poem?s argument as addressed to the individual, and the role of the reader?s faith in predisposing her to understand the meanings that P., like a biblical prophet, reveals. But the poet-prophet does not stand in a hierarchical relation to the reader: poet and reader are equivalent searchers after meaning (?). Less satisfactory is the attempt of ch. 4 to find specific philosophical, especially Neoplatonist influences in Psych., and some other poems. (?) In his conclusion M. applies Christopher Gill?s distinction between a relational and an individualist concept of the self to clarify P.?s concept, which he understands to combine both aspects: the soul is related to God and other humans, but also has free will. This underpins the new identity-construct, at once imperial Roman and radical Christian (?.). The great merit of this sophisticated study is to provoke debate about P.?s originality and subtlety.? (GERARD J.P. O?DALY in The Journal of Roman Studies, 2009, 302-304).

(22,3 x 14,5 cm); 8°; XII, 310 Seiten, 1 Blatt; Orig.-Leinwandband; Orig.-Umschlag. Einband etwas fleckig. Kopfschnitt ist angestaubt. * Customers from outside the EU ask please for real DHL shipping costs! - Ask for more pics ! * 550 gr.

Zustand: Poor. Volume 29. This is an ex-library book and may have the usual library/used-book markings inside.This book has hardback covers. In poor condition, suitable as a reading copy. No dust jacket. Please note the Image in this listing is a stock photo and may not match the covers of the actual item,650grams, ISBN:0820404454.

Zustand: New.

Zustand: New.

Gebunden. Zustand: New. Prudentius (born 348 CE) used allegory and classical Latin verse forms in service of Christianity. His works include the Psychomachia, an allegorical description of the struggle between Christian virtues and pagan vices lyric poetry and inscriptions for b.

Zustand: TBE. S.l., broché, couverture illustr; in-8, 40 pp.

PAP. Zustand: New. New Book. Shipped from UK. Established seller since 2000.

Hardcover. Zustand: Very Good. First Edition. Spine of jacket faded. Inscribed by author on title page. Inscribed by Author.

Zustand: New. In.

Paperback. Zustand: Gut. XVI, 376 p. Binding shows slight signs of handling, otherwise clean and without annotations. - Contents Introduction BOOKI PART ONE: THE CONCEPTS GENERAL ARGUMENT. The ancient gods survive during the Middle Ages by virtue of interpretations of their origin and nature pro- pounded by antiquity itself. 1. The Historical Tradition Euhemerism and Christian apologetics, p. 12. Euhemerism in the Middle Ages, p. 13. The gods as precursors of civilization, p. 14; as founders of dynasties, p. 19. Euhemerism during the Renaissance, p. 20. Ethnological legends at the Burgundian court, in France, in Italy, p. 24. The historical tradition and iconography, p. 26 II. The Physical Tradition Astral divinities at the end of the pagan era, p. 37. Attitude of the Church Fathers toward astrology, p. 42. Attitude of the Middle Ages: the role of the gods in science and magic, p. 46. Astrology during the Renaissance: attitude of the humanists, p. 56. The physical tradition and iconography, p. 6 3 The microcosms, p. 64. The planets and their "children" in Italian monumental art from the fourteenth to the sixteenth century, p. 69. The gods of the Farnesina and the Cappella Chigi, p. 79 III. The Moral Tradition Mythological allegory in antiquity, p. 84; in the hands of the Church Fathers, p. 87; in the Middle Ages, p. 89. The Ovide moralisé and its progeny, p. 91. Fulgentius metaforalis, p. 94. The Renaissance and myth- ological allegory, p. 95. Neoplatonism, p. 96. Hieroglyphs and emblems, p. 99. The moral tradition and iconography, p. 104. The psychomachia in art, p. 109. Symbolism in Botticelli, p. 112; in Correggio, p. 117; in Titian, p. 119 IV. The Encyclopedic Tradition PACE 122 Intermingling of the three cycles, historical, physical, and moral, p. 122. The gods in medieval encyclopedism, p. 123. The encyclopedic tradition and iconography, p. 125; its spread in Italian monumental art of the fourteenth century, p. 127. The gods of the Tempio Malatestiano, p. 132. The Tarocchi of Mantegna, p. 137. The Stanza della Segnatura, p. 143 PART TWO: THE FORMS GENERAL ARGUMENT. The true role of the Italian Renaissance in relation to the mythological material transmitted by the Middle Ages lies in restoring classical form, since from late antiquity on, the manner of representing the gods has undergone every variety of change. 1. The Metamorphoses of the Gods 140 THE PICTORIAL TRADITION. Figures representing constellations, in manu- scripts dating from the Alexandrian period to the fifteenth century, p. 150; Greek types, p. 151; Oriental types, p. 153. Planetary gods in Michael Scot, p. 156; on the Campanile of Giotto and in the Cappella degli Spagnuoli, p. 160. Mythology in Byzantine art, p. 163 THE LITERARY TRADITION. The gods as described by late pagan and early Christian writers and by the encyclopedists, p. 167. Representation of the gods in manuscripts: Rémi of Auxerre and John Ridewall, p. 167. The Liber ymaginum deorum of Albricus and the Libellus de deorum imagi- nibus, p. 170. Petrarch and Bersuire, p. 172. Sources of the gods of the Libellus, p. 175. Profound alteration of the classical types of the gods under the influence of the two traditions by the end of the Middle Ages, and its causes, p. 179 II. The Reintegration of the Gods THE PICTORIAL TRADITION. Return to the classical constellation types: Dürer's sky map, p. 185; planetary figures. ISBN 9780691029887 Sprache: Englisch Gewicht in Gramm: 590.

Zustand: Sehr gut. XII, 310 p. From the library of Prof. Wolfgang Haase, long-time editor of ANRW and the International Journal of the Classical Tradition (IJCT). - Small pencil annotation and crease on endpaper, otherwise very good and clean. / Kleine Bleistiftanmerkung und Falte in Vorsatzblatt, sonst sehr gut und sauber. - Prudentius' Psychomachia, written about A.D. 405, has been studied by classicists, medievalists, and general literary historians. Nevertheless, scholars have barely explored the allegory's inner workings or related it to its historical context. The present study remedies this critical neglect and its attendant misreadings. The author arrives at a coherent, unified interpretation by examining the work's major features in relation to the poet's life and times. He treats the personification allegory in conjunction with its scriptural referents and its Vergilian style and allusions, thereby challenging the thesis that the Psychomachia is a product of "Christian humanism." Instead, the author contends that the poet balanced an affirmation of Christian allegory with an ironic negation of pagan literary tradition. For this remarkable achievement his audience was the aristocracy, still largely pagan at a time of intense antagonism between the Church and old Roman religious institutions. - Macklin Smith is Assistant Professor of English at the University of Michigan. - Contents: Critical Introduction -- The Christian Poet in His Times -- Psychic Warfare and Worship: The Form and Mode of Conversion -- Salvation History and the Soul -- The Assault Upon Vergil. Sprache: Englisch Gewicht in Gramm: 550 Original cloth with dust jacket in additional plastic.