Considering textbooks as cultural artefacts that both reflect prevailing paradigms and construct knowledge (Issitt 2004; Apple 2004), this research compares nineteenth-century Latin textbooks intended for pupils in England with those intended for pupils in Prussia in the light of their differing educational, linguistic and social contexts. This dissertation fills a gap in Anglo-German historiography for the nineteenth century from three intertwined perspectives: cultural history, the history of education and the history of linguistic ideas, by investigating how textbook authors treated Latin grammar in the light of cultural ideologies (including the role of Classics in elite education, education for empire) and developments in pedagogy and philology, at a time when formal education was just becoming established, and when curriculum design, educational administration, and educational philosophy in England were all heavily influenced by German scholarship. Using a corpus of 100 Latin textbooks used in nineteenth-century England and Prussia, textbook content was examined both quantitatively and qualitatively. The results show that nineteenth-century Latin textbooks intended for pupils in England and Prussia conveyed different cultural information to their respective audiences. Challenging popular belief, pedagogical findings from this research demonstrate that Latin textbooks included a range of innovative teaching methods and techniques. As Latin is a ‘dead’ language, it is commonly perceived to be linguistically static, but by analysing the linguistic presentation of the Latin language in nineteenth-century textbooks, we find that some of the most basic linguistic components of Latin, such as the alphabet and the noun case system, were reconsidered and altered. This research shows that, though foreign language textbooks are under-studied, they offer insight into cultural history, the history of teaching and learning and the history of linguistic ideas which can be found in no other source and, ultimately, contextualise the current state of foreign language teaching.

Thesis (doctoral)--Christian-Albrechts-Universität zu Kiel, 1972. / Vita. Includes bibliographical references.

This thesis is entitled ‘Classical Elements in Early Christian Depictions of the Afterlife’. Taking an approach influenced by Reception studies, it explores some key moments where Christians engage in a dialogue with their pagan predecessors. The focus is primarily on Latin literature, although a limited selection of art and Greek literature has been included where particularly revealing. The aim of this work is to use a series of case studies in order to demonstrate the cross-pollination of ideas and to show that in late antiquity, Christian authors in the Latin West were reacting to their pagan antecedents in a variety of different ways. Through close readings of several key texts this thesis will examine moments of cultural interchange and allow us to think about some specific and illuminating examples of a complex and nuanced relationship. In the first few centuries AD Christian ideas about what happens when we die were still fluid, so the afterlife provides a particularly fruitful basis for exploring wider questions about the relationship between paganism and Christianity.

Thesis (doctoral)--Jena. / Includes bibliographical references.

Diss. / "Dissertatio archaeologico-philologica, quam consensu et auctoritate amplissimi philosophorum ordinis in alma literarum acadedmia Monasteriensi." Includes bibliographical references.

The dissertation presents a detailed investigation of Sophocles' Oedipus and Shakespeare's Hamlet in the context of Freud's comparison of the plays, sketched out in a number of his early writings (most notably The Interpretation of Dreams) but never pursued at length either by him or by any later critics. The interest of the current investigation is not inspired simply by the absence of such a detailed comparison, on the one hand, and by its constant implication in the modem analysis of the plays in question, on the other. The particular inspiration for the current project is the work of Jean Laplanche that in the last forty years has been dedicated to a fundamental reconceptualisation of Freud's theory of the human subject by way of return to the questions of the seduction and otherness. Equally inspiring for the current project have been the recent developments in the non-psychoanalytic analyses of tragedy (ancient Greek, Elizabethan, and as genre as such) that consistently aspire to cross the boundaries of the traditional textual-historicist approach to the literary text in order to accommodate the particularly heterogeneous nature of their object of study. Thus, the current project provides a comprehensive analysis of Sophocles' Oedipus and Shakespeare's Hamlet, successively, at the intersection of psychoanalytic and other (philological and philosophical) approaches to tragedy, paying attention not only to the texts of the tragedies themselves but to the narrative-mythological, dramatic, and, in the case of Sophocles, translational tradition to which they pertain. The relevance of Freudian categories to the texts and genre in question is thus thoroughly examined. As a result, the conclusion is reached that it is specifically through Laplanchean reconceptualisation of Freud's notion of seduction (and the related notions of the enigmatic message, the other, translation and transference) that a psychoanalytic approach becomes more amenable to the needs of literary analysis. The application of Laplanchean categories to the analysis of these tragedies helps to elucidate the role of the father with new precision (in comparison with the previous mother-centred approaches to these tragedies). In its main body, the dissertation consists of a general Introduction, analytical sections on Sophocles' Oedipus and Shakespeare's Hamlet, Conclusion, and the list of the consulted works.

The present work considers the novel of Joseph and Aseneth (J & A) as an allegorical text which was transmitted in various cultural environments, potentially from the poly-cultural background of Hellenistic Judaism to the time of the novel's extant manuscripts in the Middle Ages and the Renaissance. While positing that J & A was conceived as a versatile text around the time of the rise of the ancient Greek novel, the thesis highlights the sophisticated literary features of this religious text. In fact, the imagery of J & A is loaded with further significance, touching upon mystical themes which can be compared with pagan testimonies of arcane lore and mysteries. Moreover, typical scenes in J & A are devised by means of complex rhetorical strategies, which contributed to the addition of further senses to the story. Indeed, the allegorical discourse which can be detected in J & A conferred to the novel a plain narrative surface, while leaving a deeper significance for its readers and interpreters to decode. In this respect, J & A is brought closer to Classical texts such as the ancient novels and Homeric literature, because its narrative allowed subsequent interpretations and even adaptations of the story in different cultural and religious contexts. While points of contact between J & A and pagan, Jewish and Christian allegorical texts may be only suggestive, the present analysis hopes to envisions a few proposals for the early purpose and aftermath of J & A from its hypothetical original milieu in Hellenistic Judaism to the end of Antiquity.

This thesis examines the body's thematization in narrative, and as part of the aesthetic consciousness of the modernist novel. Its starting point is Joyce's pioneering association of Ulysses with the functions of a live body, and the interdisciplinary rationale that his Thomist aesthetics of wholeness enact. Joyce's view of his text as a multi-levelled, reciprocally interdependent hierarchy of various fields, including art and science, as developed in the Linati and Gilbert Schemes, sheds light on the polyphonic and polyglottic narratorial tactics of U. Joyce's enterprise is compared to the Greek modernist novel which developed its innovative techniques in accordance with the general demand for a reorientation of Greek literature toward introspection. The reception of U in Greece coincided with the heyday of this attempt which was characterized by experimentation and was influenced by psychoanalysis, phenomenology and anthropological studies. The three Greek authors in this study, Stelios Xefloudas, Nikos Gavriil Pentzikis, Giorgos Cheimonas, each of them representing a different period in the development of the modem novel, were variously influenced by Joyce's work. The argument particularly focuses on their use of the body in the text in the light of Joyce's work. The foreword, a theoretical introduction, sets forth the terms of the argument. The first chapter is a brief survey of Us reception in Greece. It discusses the quest for the renewal of Greek literature which started around the thirties. Tracing the links of this renewal With Joyce's work, it particularly focuses on the techniques of introspection and their association with the body, as part of the aesthetic consciousness of the inner-orientated or 'introverted' novel. The second chapter is an analysis of Joyce's paradigmatic use of the body in the text. Focusing on the act of creation in comedy, scientific discovery and aesthetic rapture, it discusses the psycho-physiological processes and the cultural psycho-dynamics which are compressed within Q, and support its multi-perspectival and multi-interpretative orientation. Joyce's mock-heroic, his anti-theology, the aesthetics of the androgynous artist, desire in language and bodily interference in the act of writing are seen in relation to the body and in the light of Joyce's explanatory schemes. Chapter three examines Xefloudas's attempted assimilation of Joyce's introspective techniques, in the use of myth, in the questing voyager archetype, and in desire in language through the myth of eternal return. The fourth chapter discusses N. G. Pentzikis's Christian-Freudian-Jungian perspective on Joyce's work and his reworking of Us motifs in a surrealist mode (dream, metamorphosis, free association). His endeavour to subvert his own literary past takes place through the re-writing of Drosmiis's novel, To Mythistorema fis Kytlas Ersis. In this book all elements of Greek modernism are welded together. Pentzikis undoes and redoes the Parnassian novel, drawing heavily upon Q, and the Hellenic and Byzantine legacies which he semi-parodically incorporates into his art. His use of the Rabelaislan body and the grotesque, which reflects his language games, also emulates Joyce's. The fifth chapter deals with Cheimonas, as a successor of the previous authors. Cheimonas revisits all the thematic motifs of Joyce and of the aforementioned Greek authors in the light of contemporary phenomenology, psychoanalysis, psycho-linguistics and deconstruction. In an attempted assimilation of the language of FW and Joyce's preoccupation with the sound of the word, he writes an elliptical prose violated in its syntax, grammar and word-formation. His texts are a journey to the origins of language. Through violent dramatizations of psycho-linguistic theories, these texts aim at revealing the body's voice.

This thesis examines Demosthenes’ rhetorical use of Athenian ideology in his deliberative speeches from 351-341 BCE. I argue that during this period of crisis, which is usually narrated in terms of conflict with Macedonia, Demosthenes confronts an internal crisis within the Assembly. While Demosthenes’ deliberative speeches have traditionally been defined as ‘Philippic’, this thesis argues that the speeches do not prioritise an ‘Anti- Macedonian’ agenda, but rather focus on confronting the corruption of the deliberative decision-making process. Due to an attitude of apathy and neglect, Demosthenes’ rhetoric suggests that their external problems are a direct product of this internal crisis, both of which are perpetuated by their failure to recognise how self-sabotaging practices undermine the polis from within. As he asserts in On the Chersonese and the Third Philippic, they cannot hope to deal with their external situation before they deal with their internal crisis. To address this, I argue that Demosthenes’ parrhēsia interweaves criticism of the dēmos with the praise of Athens, using social memory and past exempla both to recall and prescribe didactically the attitudes central to Athenian identity. As such, I propose that the deliberative speeches do not confront a ‘Macedonian Question’, but a fundamentally Athenian one.

This thesis explores the significance of political change, law, and rhetoric in imaginary cities that feature animals and women as ‘Others.’ It studies dramatic and philosophical texts, from Aeschylean tragedy, Aristophanic comedy, and Platonic dialogue in ancient Greece to modern works, including Thomas More’s Utopia in 16th-century England and the utopias and dystopias of the 20th-century, in order to offer a discourse between the ancient and modern world. I demonstrate that each of these texts can be compared on a rhetorical and jurisprudential level, which allows us to examine how different characters engage with different forms of power in a setting which at least begins by being democratic. This enables us to trace the development of this strand of Western political thought over the last two thousand years, and to confront intractable political problems that recur throughout time. This confrontation helps us understand patterns of legal reforms and rhetoric and demonstrates that the concerns of Aristophanes and Plato can also be found in modern paradigms. The recourse to the utopian and dystopian fantastic, the seemingly apolitical animal world, and the differently organised female sphere, offers new insight into the activities of law-making, city-planning, and rhetoric, both in antiquity and today.