Mikhail Mikhailovich Bakhtin (1895-1975) has become a name to conjure with. We know this because he is now one of those thinkers everyone already knows-without necessarily having to read much of him! Doesn't everyone now know how polyphony functions, what carnival means, why language is dialogic but the novel more so, how chronotopes make possible any concrete artistic cognition and that utterances give rise to genres that last thousands of years, always the same but not the same? Like Marx and Freud in the twentieth century, or Plotinus and Plato in the fourth, a familiarity with Bakhtin's thinking is so commonly assumed, at least in the Humanities, as to be taken for granted. He is no longer an author but a field of study in his own right. As Craig Brandist (of the Bakhtin Centre at Sheffield University) reports: the works of the [Bakhtin] Circle are still appearing in Russian and English, and are already large in number...There are now several thousand works about the Bakhtin Circle.The freedom given to contributors to address any text or topic under the general rubric of The Bakhtin Circle and Ancient Narrative has produced a remarkable variety of essays ranging widely over different periods, genres, and cultures. While most of the contributors chose to explore Bakhtin's theory of genre or to take issue with his account of one genre, Greek romance, the remaining contributions defy such convenient categories. What all the essays share with one another (and those collected in Bakhtin and the Classics) is the attempt to engage Bakhtin as a reader and thinker.

This volume investigates the history and nature of pain in Greek culture under the Roman Empire (50-250 CE). Traditional accounts of pain in this society have focused either on philosophical or medical theories of pain or on Christian notions of 'suffering'; fascination with the pained body has often been assumed to be a characteristic of Christian society, rather than Imperial culture in general. This book employs tools from contemporary cultural and literary theory to examine the treatment of pain in a range of central cultural discourses from the first three centuries of the Empire, including medicine, religious writing, novelistic literature, and rhetorical ekphrasis. It argues instead that pain was approached from an holistic perspective: rather than treating pain as a narrowly defined physiological perception, it was conceived as a type of embodied experience in which ideas about the body's physiology, the representation and articulation of its perceptions, as well as the emotional and cognitive impact of pain were all important facets of what it meant to be in pain. By bringing this conception to light, scholars are able to redefine our understanding of the social and emotional fabric of Imperial society and help to reposition its relationship with the emergence of Christian society in late antiquity.

Inventing the Novel uses the work of the Russian philosopher Mikhail Bakhtin (1895-1975) to explore the ancient origins of the modern novel. The analysis focuses on one of the most elusive works of classical antiquity, the Satyrica, written by Nero's courtier, Petronius Arbiter (whose singular suicide, described by Tacitus, is as famous as his novel). Petronius was the most lauded ancient novelist of the twentieth century and the Satyrica served as the original model for F. Scott Fitzgerald's The Great Gatsby (1925), as well as providing the epigraph for T. S. Eliot's The Waste Land (1922), and the basis for Fellini Satyricon (1969). Bakhtin's work on the novel was deeply informed by his philosophical views: if, as a phenomenologist, he is a philosopher of consciousness, as a student of the novel, he is a philosopher of the history of consciousness, and it is the role of the novel in this history that held his attention. This volume seeks to lay out an argument in four parts that supports Bakhtin's sweeping assertion that the Satyrica plays an "immense" role in the history of the novel, beginning in Chapter 1 with his equally striking claim that the novel originates as a new way of representing time and proceeding to the question of polyphony in Petronius and the ancient novel.

What kind of literature is the Talmud? To answer this question, Daniel Boyarin looks to an unlikely source: the dialogues of Plato. In these ancient texts he finds similarities, both in their combination of various genres and topics and in their dialogic structure. But Boyarin goes beyond these structural similarities, arguing also for a cultural relationship.In Socrates and the Fat Rabbis, Boyarin suggests that both the Platonic and the talmudic dialogues are not dialogic at all. Using Michael Bakhtin’s notion of represented dialogue and real dialogism, Boyarin demonstrates, through multiple close readings, that the give-and-take in these texts is actually much closer to a monologue in spirit. At the same time, he shows that there is a dialogism in both texts on a deeper structural level between a voice of philosophical or religious dead seriousness and a voice from within that mocks that very high solemnity at the same time. Boyarin ultimately singles out Menippean satire as the most important genre through which to understand both the Talmud and Plato, emphasizing their seriocomic peculiarity.An innovative advancement in rabbinic studies, as well as a bold and controversial new way of reading Plato, Socrates and the Fat Rabbis makes a major contribution to scholarship on thought and culture of the ancient Mediterranean.

This volume collects the most recent essays of Richard Hunter, one of the world's leading experts in the field of Greek and Latin literature. The essays range across all periods of ancient literature from Homer to late antiquity, with a particular focus not just on the texts in their original contexts, but also on how they were interpreted and exploited for both literary and more broadly cultural purposes later in antiquity. Taken together, the essays sketch a picture of a continuous tradition of critical and historical engagement with the literature of the past from the period of Aristophanes and then Plato and Aristotle in classical Athens to the rich prose literature of the Second Sophistic. Richard Hunter's earlier essays are collected in On Coming After (Berlin 2008).

The volume collects fourteen essays on Herodian that investigate the most important aspects of his historiography: literature, politics, economy, religion and warfare.

Queer Exoticism: Examining the Queer Exotic Within joins the growing bibliography of queer postcolonial and queer race studies. The authors assembled here examine the queer tendency to visit decidedly different and unusual subjects of desire in an effort, partially at least, to find oneself. The identity quest that is inherent in the search for the exotic often results in something quite the opposite of foreign since it forms and articulates that which is ourselves. Thus experiencing the exotic becomes a path to self-knowledge, not unlike the work of therapy wherein the examination of elements that appear at first peculiar or unfamiliar end up opening channels to self-discovery. In this way, the gaze outward turns inward to exhibit an inner exoticism that, at times, is at once, always and already, inner and outer. These essays also focus on various questions of imperialism, race, exoticism, along with other aspects of the exotic. Going beyond Said’s sense of orientalism, this volume examines the otherness of oneself and the notion of desire for the Other as something different from purely an act of domination and colonization, thereby refusing perceptions of ascendancy. Insomuch as they represent various geographic and cultural groups, the studies lend themselves to a variety of different methodologies and analytical approaches.

Greek traditions of writing about food and the symposium had a long and rich afterlife in the first to fifth centuries CE, in both Greco-Roman and early Christian culture. This book provides an account of the history of the table-talk tradition, derived from Plato's Symposium and other classical texts, focusing among other writers on Plutarch, Athenaeus, Methodius and Macrobius. It also deals with the representation of transgressive, degraded, eccentric types of eating and drinking in Greco-Roman and early Christian prose narrative texts, focusing especially on the Letters of Alciphron, the Greek and Roman novels, especially Apuleius, the Apocryphal Acts of the Apostles and the early saints' lives. It argues that writing about consumption and conversation continued to matter: these works communicated distinctive ideas about how to talk and how to think, distinctive models of the relationship between past and present, distinctive and often destabilising visions of identity and holiness.