Bøker av David Konstan

This book explores the social institutions, the prevailing social values, and the ideology of the ancient city-state as revealed in Roman Comedy. "e;The very essence of comedy is social,"e; writes David Konstan, "e;and in the complex movement of its plots we may be able to discern the lineaments and contradictions of the reigning ideas of an age."e;David Konstan looks closely at eight plays: Plautus's Aulularia, Asinaria, Captivi, Rudens, Cistellaria, and Truculentus, and Terence's Phormio and Hecyra. Offering new interpretations of each, he develops a "e;typology of plot forms"e; by analyzing structural features and patterns of conventional behavior in the plays, and he relates the results of his literary analysis to contemporary social conditions. He argues that the plays address tensions that were potentially disruptive to the ancient city-state, and that they tended to resolve these tensions in ways that affirmed traditional values.Roman Comedy is an innovative and challenging book that will be welcomed by students of classical literature, ancient social history, the history of the theater, and comedy as a genre.

Where did the idea of sin arise from? In this meticulously argued book, David Konstan takes a close look at classical Greek and Roman texts, as well as the Bible and early Judaic and Christian writings, and argues that the fundamental idea of "sin" arose in the Hebrew Bible and the New Testament, although this original meaning was obscured in later Jewish and Christian interpretations. Through close philological examination of the words for "sin," in particular the Hebrew hata' and the Greek hamartia, he traces their uses over the centuries in four chapters, and concludes that the common modern definition of sin as a violation of divine law indeed has antecedents in classical Greco-Roman conceptions, but acquired a wholly different sense in the Hebrew Bible and New Testament.

It is now recognized that emotions have a history. In this book, eleven scholars examine a variety of emotions in ancient China and classical Greece, in their historical and social context. A general introduction presents the major issues in the analysis of emotions across cultures and over time in a given tradition. Subsequent chapters consider how specific emotions evolve and change. For example, whereas for early Chinese thinkers, worry was a moral defect, it was later celebrated as a sign that one took responsibility for things. In ancient Greece, hope did not always focus on a positive outcome, and in this respect differed from what we call "hope." Daring not to do, or "undaring," was itself an emotional value in early China. While Aristotle regarded the inability to feel anger as servile, the Roman Stoic Seneca rejected anger entirely. Hatred and revenge were encouraged at one moment in China and repressed at another. Ancient Greek responses to tragedy do not map directly onto modern emotional registers, and yet are similar to classical Chinese and Indian descriptions. There are differences in the very way emotions are conceived. This book will speak to anyone interested in the many ways that human beings feel.

"Pity Transformed" is an examination of how pity was imagined and expressed in classical antiquity.

He illustrates how the Greeks' conception of emotions has something to tell us about our own views, whether about the nature of particular emotions or of the category of emotion itself.