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Preliminary Material /Thomas E. Burman -- Introduction /Thomas E. Burman -- Chapter One: The Mozarabic Community in the Eleventh and Twelfth Centuries /Thomas E. Burman -- Chapter Two: The Sources: Mozarabic Apologetic and Anti-Islamic Polemic, c. 1050-1200 /Thomas E. Burman -- Chapter Three: The Oriental-Christian Contribution to Mozarabic Apologetic and Polemic /Thomas E. Burman -- Chapter Four: \'That Which His Followers Related From Him\': The Mozarabs' Polemical Use Of Islamic Tradition /Thomas E. Burman -- Chapter Five: Abelard's Triad And Christian Kalām In Spain: Latin Theology In Mozarabic Apologetic /Thomas E. Burman -- Chapter Six: Conclusion /Thomas E. Burman -- Introduction /Thomas E. Burman -- Liber Denudationis Siue Ostensionis Aut Patefaciens /Thomas E. Burman -- The Book Of Denuding Or Exposing Or The Discloser /Thomas E. Burman -- Appendix: A List Of Passages Of Liber Denudationis Quoted By Riccoldo Da Monte Di Croce In His Contra Legem Sarracenorum /Thomas E. Burman -- Bibliography /Thomas E. Burman -- Index /Thomas E. Burman.

"Coming to terms with the rhetorical arts of antiquity necessarily illuminates our own ideas of public discourse and the habits of speech to which they have led. Tacitus wrote the Dialogus at a time (ca. 100 CE) when intense scrutiny of the history, the definitions, and the immediate relevance of public speech were all being challenged and refashioned by a host of vibrant intellects and ambitious practitioners. This book challenges the notion that Tacitus sought to explain the decline of oratory under the Principate. Rather, from examination of the dynamics of argument in the dialogue and the underlying literary traditions there emerges a sophisticated consideration of eloquentia in the Roman Empire. Tacitus emulates Cicero's legacy and challenges his position at the top of Rome's oratorical canon. He further shows that eloquentia is a means by which to compete with the power of the Principate"--

Preliminary Material -- Translating The Prince by Many Hands /Jacob Soll -- Translation and Circulation: Introduction to a research project /Roberto De Pol -- La première traduction française /Nella Bianchi Bensimon -- The first Latin translation /Caterina Mordeglia -- A Florentine Prince in Queen Elizabeth's court /Alessandra Petrina -- La primera traducción española /María Begoña Arbulu Barturen -- The first Dutch translation /Francesca Terrenato -- The first German translation /Serena Spazzarini -- The first translation in Scandinavia /Paolo Marelli -- The first Arabic translation /Arap El Ma'ani -- Chronological Summary -- Distribution of Manuscripts and Printings -- Comparison of Selected Passages -- The Introduction to the first Arabic translation -- Index.

"With the rise of Christianity in the Roman Empire increasing numbers of educated people converted to this new belief. As Christianity did not have its own educational institutions the issue of how to harmonize pagan education and Christian convictions became increasingly pressing. Especially classical poetry, the staple diet of pagan education, was considered to be morally corrupting (due to its deceitful mythological content) and damaging for the salvation of the soul (because of the false gods it advocated). But Christianity recoiled from an unqualified anti-intellectual attitude, while at the same time the experiment of creating an idiosyncratic form of genuinely Christian poetry failed (the sole exception being the poet Commodianus). In The Baptized Muse: Early Christian Poetry as Cultural Authority, Karla Pollmann argues that, instead, Christian poets made creative use of the classical literary tradition, and - in addition to blending it with Judaeo-Christian biblical exegesis exploited poetry's special ability of enhancing communicative effectiveness and impact through aesthetic means. Pollman explores these strategies through a close analysis of a wide range of Christian, and for comparison partly also pagan, writers mainly from the fourth to sixth centuries. She reveals that early Christianity was not a hermetically sealed uniform body, but displays a rich spectrum of possibilities in dealing with the past and a willingness to engage with and adapt the surrounding culture(s), thereby developing diverse and changing responses to historical challenges. By demonstrating throughout that authority is a key in understanding the long denigrated and misunderstood early Christian poets, this book reaches the ground-breaking conclusion that early Christian poetry is an art form that gains its justification by adding cultural authority to Christianity. Thus, in a wider sense it engages with the recently developed interdisciplinary scholarly interest in aspects of religion as cultural phenomena" --