This textual and linguistic commentary, which is the first of any kind in English on the Historiae of Quintus Curtius, discusses the uncertainties presented by the text as transmitted, evaluates the solutions offered by previous scholars and suggests some new emendations. Curtius' grammar, syntax and linguistic usage are examined in comparison with the standards accepted before the time of Livy and the developments thereafter. His expression and style are compared with those of other authors, with special reference to Livy and Curtius' near-contemporary, Seneca the Younger. Literary analogies with other authors in all periods are given and similarities in thought and style are also noticed. Curtius' treatment of his subject-matter is considered in the light of the parallel accounts of Arrian, Diodorus Siculus, and in some places Plutarch and Justin, and questions of historical fact are discussed where they arise from the text of Curtius himself. Two appendices are included, of which the first deal with the dispute over the date of composition of the work, and Curtius' identity. It presents the case for identifying the Princeps referred to at X 9.1-6 with Claudius and suggests that Curtius composed the Historiae during the early years of that emperor's reign. The second appendix deals with our author's vocabulary and his use of participles and infinitives, and demonstrates some aspects of his contribution to, and place within, the evolution of the Latin language since the time of Livy. The apparatus criticus is derivative; the commentary, except insofar as every such work must take account of previous scholarship, is entirely original.

This thesis examines the process of adaptation of Shakespeare’s plays into the graphic novel medium. It traces the history of these adaptations from the first comic books produced in the mid-twentieth century to graphic novels produced in the twenty-first century. The editions used for examination have been selected as they are indicative of key developments in the history of adaptation of Shakespeare’s plays into the medium. This thesis explores how the plays are presented and the influences on the styles of presentation. It traces the history of the form and how the adaptations have been received in various periods. It also examines how the combination of illustrations and text and the conventions of the medium produce unique narrative capacities, how these have developed over time and how they used to present the plays. Sales data of Shakespeare graphic novels is presented and analysed to reveal the target audience is the education sector which in turn drives the publisher’s promotion of the authenticity and fidelity of their editions. How authenticity is claimed and invoked in the adaptation into graphic novels is also examined.

This thesis offers a fresh appraisal of the wise adviser in Pindar's epinician poetry. By focusing on the prominent figure of Chiron, it shows how Pindar engages with the paraenetic tradition in a way that reveals the distinctive character of the epinician poet. The first part of the study explores the function of Chiron as an interactive model for Pindar as poet-teacher. Chapter 1 examines how the mythical pedagogue enhances the status of the poet as wise adviser by illuminating the moral character of his advice. It shows how the relationship between teacher and pupil in the myth provides a model for that of poet and addressee and enables the poet to present his advice indirectly. In two separate case studies, I explore how Chiron's paradigmatic associations interact with the poet as adviser. In Chapter 2 (Nemean 3), I argue that the poet dramatises the instruction of a pupil as part of a collaborative and interactive form of learning. In Chapter 3 (Pythian 3), I argue that Pindar reconfigures preceptual instruction in a 'dialogue' between two speakers who enact the pedagogic relationship of Chiron and Asclepius. This strategy allows the poet to present his teaching tactfully and authoritatively. I conclude that Chiron is a figure for the poet as tactful and authoritative adviser and contributes to the poet's creation of a 'paraenetic encomium'. Secondly, this study of the reception and remodelling of the paraenetic tradition in Pindar illuminates the distinctive character of his advice and its central importance in Pindar's construction of poetic and moral authority.

What happens when we look at others, and when others look at us? How does the experience of looking at or being seen by others shape our perceptions of ourselves? This thesis addresses these questions with reference to a specific historical and cultural moment; I examine scenes of vision and display in the Athenian writer Xenophon's representations of Spartans, Persians and other non-Greek peoples in Asia as a means of investigating the place of Sparta, Persia and the non-Greek in fourth century Athenian thought. Focusing in particular on the Anabasis, Cyropaedia, Lakedaimonion Politeia and Agesilaus, I analyse the representation of the responses of spectators to foreign sights in order to consider how these texts position their readers in relation to Spartans, Persians and others, and also, therefore, how they articulate and interrogate what it means to be Athenian, and what it means to be Greek. I will argue that sight is involved in the construction of Greek identity; that although some of the ways in which Greek identity is represented imply its cohesion, more often Xenophon's scenes of vision reveal the uncertainties and manipulations involved in attempting to imagine or lay claim to Greekness; and that Xenophon reveals the complexities of Panhellenist thought and of the intellectual and political climate of the fourth century. This thesis contributes towards a history of Greek identity and a history of visuality; it also seeks to reappraise Xenophon as a writer, revealing him as a valuable source for Greek conceptions of political power and conflict, and of ethnic, political and cultural selfconsciousness.

This study provides a synoptic account of the development of Latin elegiac poetry from the first century BC to late antiquity. It focuses primarily on a group of texts from the fifth and sixth centuries AD in which elegy once again becomes a medium for sustained poetic lamentation, four hundred years after the death of Ovid, its most famous exponent. These texts are Rutilius Namatianus, De Reditu; Orientius, Commonitorium; Dracontius, Satisfactio; and the elegiac collection of Maximianus. Each work is interpreted in the context of the radical historical changes that were taking place in this period. The study makes particular reference to the influence of Ovid, as it analyses the distinctive formal and narrative modalities by which these poets present a variety of subject matter. It advances the hypothesis that each of the four elegies presents the experience of a traumatic loss or break. As well as providing detailed examination of these important primary texts, this study also invites re-evaluation of the elegiac works of the Augustan period, which have long been canonical in Classics. In so doing, it indicates the potential for a highly developed criticism of previously neglected works of Latin poetry.

A study of Suetonius' Lives of the Caesars as a gallery of portraits of Roman emperors. The object is to make sense of Suetonius' methods of depicting emperors as emperors and to ask what light is cast on contemporary perceptions of the role of the Emperor. In order to set the Caesars in context, the work is approached from three different angles, the literary, the social and the ideological. The first part looks at the literary background of the Lives. The question here is of how far the rubric method and the actual choice of rubrics can be accounted for in terms of literary tradition as opposed to the author's understanding of what was significant about an emperor. The second part considers the impact of the author's position in society on his presentation. An attempt is made to discover the viewpoint of one who was simultaneously an equestrian official and an antiquarian scholar. His view of society is related to his views of the emperor's place in society and his functions as an administrator. The last part examines the relationship between his representation of the emperor and the ideals desiderated in or attributed to autocratic rulers. Discussion centres on the use of virtues and vices as categories of estimation and on their relationship to official and theoretical 'ideologies'. Since it is argued that Suetonius shares the views of other Roman sources, discussion of individual virtues and vices ranges far beyond the Caesars.

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This thesis is primarily concerned with the documentation of the artistic and literary evidence for each of the traditional twelve labours of Heracles, in the course of which I have made certain discoveries relating to the concept and content of the labours. Heracles is made to perform labours at least as early as the Iliad. The Greeks generally referred to them as, contests in return for a prize, in this case immortality. It is not until the fifth century B.C. that a specific number is defined, namely twelve, by a fragment of Pindar and the metopes of the Temple of Zeus at Olympia. The Cerberus, lion, and hind labours and possibly those of Geryon and the hydra were defined as such before the metopes, which provide a very early and isolated appearance of all the twelve labours of the later canon. I believe these metopes show Elis claiming Heracles as her special hero to emphasise her newly-found identity. As regards the myths which became the traditional labours, Cerberus, lion, hydra and Geryon date at least to the eighth century B.C., birds and possibly Amazons to the seventh, and the rest, with the possible exception of Augeas, to c. 550. The characteristic feature of the labours is the exhibition of heroism: most involve fighting, often against monstrous opponents. Sometimes public benefaction is demonstrated but this is developed more by later writers. Many heroic deeds of Heracles could have been made into labours. The choice at Olympia seems to demonstrate Heracles' close connection with the surrounding area highlighted by the labours he performed in the remote corners of the Greek world as a pan hellenic hero. It was not until the local nature of Olympia's interpretation of the individual labours was forgotten that it was adopted as the canon.

The study of emotion is an interdisciplinary field. One key aspect of this field is the cultural variation of emotion. This thesis is a contribution to the above area by means of a specific analysis of the ancient Greek conception of the emotion ἔρως. The focus for this study is the Greek Novel, a collection of literary works emerging from the Greek speaking culture of the eastern Mediterranean during the Roman imperial period (1st to 4th cent C.E.). These novels are based upon the universal topics of love and sexual passion, while at the same time reflecting and reworking both the specific social and literary climate of the period and ancient Greek folk and philosophical models of psychology. My thesis argues that the role of conceptual metaphor in the understanding of ἔρως as an emotion has not yet been fully appreciated, and that an understanding of metaphor is essential for gauging which parts of the folk model of the emotion are culturally specific or universal, and how these sections interact.