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This paper proposes a new synthetic account of the presence of Cicero as both character and source in Lucan's Bellum Ciuile. Lucan's treatment is derived primarily from Virgil's technique for creating intertextually complex characters, but further builds on Sallust's displacement of Cicero in his narrative of the Catilinarian conspiracy and on the declamatory practice of reducing the orator to a few prominent and recognizable traits. Cicero the character, as he briefly appears at the opening of the seventh book, is not simply an ahistorical caricature: he is constructed through a careful series of allusions designed to indict his use of violence in the suppression of Catiline. Other prominent aspects of Cicero in the tradition are displaced and transferred to other characters more important to Lucan's design, Cato and Pompey. Lucan's depiction of Pompey, especially his death and decapitation, draws on the language and affect of the tradition associated with Cicero, using Cicero's own words and the obituary of Cicero in the lost historical epic of Cornelius Severus. Finally, the language of Cicero's peace-making efforts in his correspondence, suppressed in Lucan's depiction of him as a warmonger, forms an important part of the narrator's own emotional evocations of the impending catastrophe of civil war. The combination of models Lucan uses is more broadly reflective of his technique in composing a historical epic.

The purpose of this study is to examine the local minstrels’ styles and their works during the period between 1878 and 1920 when Kars and its environs were occupied by Russia. The mediatic and educational roles of minstrels in organizing the resistance towards the occupation are analysed by sampling.

In the second half of the third century bce Roman historical epic (notably that written by Naevius and Ennius) and Roman historiography (notably that of Fabius Pictor) came into being at roughly the same time. Whether and in what ways these two literary forms may have mutually influenced each other in their early development is a matter of debate, but it is obvious that there are both similarities and a generic difference, demonstrated by the use of prose or verse respectively and the accompanying style. Such characteristics enable a distinction between different types of narrative, even if the same events in Roman history are covered.

Augustan poetry is perhaps the most classic of all European classics. Its literary vision of gradual advance (back) to Golden-Age peace and prosperity has taken center stage in the process of defining European humanism. Post-Augustan epic poets like Lucan, however, also seem to doubt whether humanity can be taught by letters. This has often been interpreted as anti-classicist and, hence, antihumanistic. However, can the ideals of civilizing literature, in fact, be proven wrong? Is there no other way to deal with the challenges of humanism than to give in? A promising interpretive approach to this question is studying the specific metapoetic potential of historical poetry. Literary characters of such poems can 'realistically' appear as readers; often, their success or failure may be directly related to the literary education they show. This opens up a space for a particular kind of intertextuality. In acutely reflecting the impact of their reference texts, historical epic poems have made a distinctive contribution to the classification of the classics, i.e., the defense of humanity.

During the 1920s, sound revolutionized the motion picture industry and cinema continued as one of the most significant and popular forms of mass entertainment in the world. Film studios were transformed into major corporations, hiring a host of craftsmen and technicians including cinematographers, editors, screenwriters, and set designers. The birth of the star system supported the meteoric rise and celebrity status of actors including Charlie Chaplin, Mary Pickford, Joan Crawford, Greta Garbo, and Rudolph Valentino while black performers (relegated to \"race films\") appeared infrequently in mainstream movies. The classic Hollywood film style was perfected and significant film genres were established: the melodrama, western, historical epic, and romantic comedy, along with slapstick, science fiction, and fantasy. In ten original essays,American Cinema of the 1920sexamines the film industry's continued growth and prosperity while focusing on important themes of the era.

Most discussions of modern poetry and cinema center on lyric and the avant-garde, but historical epic film offers rich possibilities for teaching the modernist long poem. Historical epic takes us beyond montage and other editing techniques to the DNA of the long poem — a more is more aesthetic that compiles allusions and expands scope. This essay draws on Vivian Sobchack's poetics of the film genre and Franco Moretti's analysis of modern literary epic to identify four tendencies in modern American long poems: urban epic (The Waste Land), everyday epic (The Book of the Dead, Paterson), romance epic (Helen in Egypt), and diasporic epic (Omeros). In addition to cross-media comparisons, the essay includes movie posters that undergraduate students made for these long poems.

In tracing three possible answers to the question what the 'first millennium' might be for the Armenians, various layers of the Armenian tradition constitutive of the formation of Armenian identity are presented. Three periods are distinguished: the Nairian-Urartian stretching from about 1200 BCE to the conquest of the Armenian plateau by the Achaemenids; followed by the Zoroastrian phase, in which political, religious, social, and cultural institutions in Armenia were closely related to Iranian ones, lasting until the adoption of Christianity as state religion in Armenia at the beginning of the fourth century. This heralds the third and last phase considered in this contribution, concluding with the cornerstone of Armenian identity formation in the direction given to Armenia and its Church by Yovhannēs Ōjnecʿi (John of Odzun, d. 728), who opted for a moderate form of Miaphysitism after the rejection of the Council of Chalcedon. The developments in each of the three periods are measured against the criteria Smith considered central for the presence of an ethnie, while attention is given to the Iranian aspects of Armenian society, the presence of a Hellenistic strand in its culture, and its western turn upon the adoption of Christianity.