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Relevant bibliographies by topics / Philology, Classical

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Academic literature on the topic 'Philology, Classical'

Author: Grafiati

Published: 4 June 2021

Last updated: 10 February 2022

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Journal articles on the topic "Philology, Classical"

1

CLEMONS. "CLASSICAL PHILOLOGY." Princeton University Library Chronicle 51, no. 1 (1989): 104. http://dx.doi.org/10.2307/26418753.

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Dombrovskyi, Markiyan. "Класична філологія і літературознавство." Pitannâ lìteraturoznavstva 91 (November 28, 2015): 69–80. http://dx.doi.org/10.31861/pytlit2015.91.069.

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Irmscher, Johannes. "Friedrich Nietzsche and classical philology today." History of European Ideas 11, no. 1-6 (January 1989): 963–66. http://dx.doi.org/10.1016/0191-6599(89)90282-9.

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Larsen, David. "Meaning and Captivity in Classical Arabic Philology." Journal of Abbasid Studies 5, no. 1-2 (August 23, 2018): 177–228. http://dx.doi.org/10.1163/22142371-12340039.

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Abstract This article takes a close look at the word maʿnā as analyzed by Abbasid-era authorities on the Arabic language, chiefly Ibn Fāris (d. 395/1004). The word’s context-sensitivity and polysemy are well known; less well appreciated are the lexical and morphological preconditions for maʿnā’s diversity of meanings across the disciplines. Even less well studied (though widely quoted in lexicographical literature) is the anonymous basīṭ-meter couplet that Ibn Fāris cites in al-Ṣāḥibī fī fiqh al-lugha as a locus probans for the word. The speaker in these verses boasts of ransoming a bound captive (ʿānī), using maʿnā to refer to the captive’s abject state. There is evidence to suggest that the verses once featured in a lost work of the philologist Abū Naṣr al-Bāhilī (d. 231/855) called Kitāb Abyāt al-maʿānī. This was an anthology of verses framed like riddles whose interpretation hinged on double meanings and rare metaphors, and its form and content may be judged by numerous outtakes preserved in later anthologies and lexica. The affiliation of Ibn Fāris’s verses to Kitāb Abyāt al-maʿānī would confirm that the derivation of maʿnā truly is a puzzle with multiple answers. To contemplate its parameters is to uncover a paradigm for meaning in which noetic intention and phenomenological exposure are figurative correlates of bodily captivity and duress.

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Sax, Benjamin. "Culture and Truth: Nietzsche and Classical Philology." European Legacy 21, no. 4 (March 30, 2016): 373–92. http://dx.doi.org/10.1080/10848770.2016.1158560.

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Roggen, Vibeke. "Expanding the area of classical philology: International words." Nordlit, no. 33 (November 25, 2014): 321. http://dx.doi.org/10.7557/13.3166.

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The classical languages, Greek and Latin, have a special kind of afterlife, namely through their explosive expansion into <em>other </em>languages, from antiquity until today. The aim of the present paper is to give a broad survey of this field of study – enough to show that there is a lot to find. As examples are chosen English, Spanish and Norwegian – three Indo-European languages, all of them with rich material for our purpose. In the national philologies, the treatment of the Greek and Latin elements are often not given special attention, but are studied alongside other aspects of the language in question. A cooperation with classical philology would be an advantage. Moreover, only classical philology can give the full picture, seen from the point of view of Greek and Latin, and explain <em>why </em>and <em>how </em>these languages have lended so many words and word elements to so many vernacular languages. Another aspect of the field, which I call ‘international words’, is the enormous potential that these words have, if disseminated in a good way to the general population. If taught systematically, the learner will be able to see the connections between words, learn new words faster, and develop a deeper understanding of the vocabularies in – for example – English, Spanish and Norwegian.

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Blennow, Anna, and Frederick Whitling. "Italian dreams, Roman longings. Vilhelm Lundström and the first Swedish philological-archaeological course in Rome, 1909." Opuscula. Annual of the Swedish Institutes at Athens and Rome 4 (November 2011): 143–58. http://dx.doi.org/10.30549/opathrom-04-07.

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In Sweden, the future of Classical Philology and the study of the ancient past remain uncertain a century after the first Swedish university course in Rome, led by Vilhelm Lundström, Professor of Latin at Gothenburg, and the simultaneous establishment of the study of Classical Archaeology and Ancient History in Swedish academia in 1909. The institutionalisation of the Swedish scholarly presence in Rome materialised with the establishment of the Swedish Institute in Rome (SIR) in 1925, and its inauguration the following year—partly as a result of Lundström’s pioneering initiative. The present article discusses the implications of Lundström’s course in Rome as well as in Sweden, and sheds light on his neohumanist vision of an integrated study of antiquity; with Classical Archaeology and Ancient History as integral elements of Classical Philology. This vision lay abandoned throughout the twentieth century, but deserves to be taken into account when discussing how philology relates to archaeology, or considering the study of antiquity and the classical tradition in a modern comprehensive context of humanities in academia.

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Whitman, James. "Nietzsche in the Magisterial Tradition of German Classical Philology." Journal of the History of Ideas 47, no. 3 (July 1986): 453. http://dx.doi.org/10.2307/2709663.

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Babich, Babette E. "Nietzsche—Ancient Philology, Ancient Philosophy, and the Classical Tradition." New Nietzsche Studies 4, no. 1 (2000): 171–91. http://dx.doi.org/10.5840/newnietzsche200041/27.

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Kallendorf, Craig. "Philology, the Reader, and the "Nachleben" of Classical Texts." Modern Philology 92, no. 2 (November 1994): 137–56. http://dx.doi.org/10.1086/392229.

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Dissertations / Theses on the topic "Philology, Classical"

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Sluiter, I. "Ancient grammar in context contributions to the study of ancient linguistic thought /." Amsterdam : VU University Press, 1990. http://catalog.hathitrust.org/api/volumes/oclc/22571090.html.

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Blaschka, Karen, and Monica Berti. "Classical philology goes digital: working on textual phenomena of ancient texts: workshop, Klassische Philologie, Universität Potsdam, Februar 16 - 17, 2017." Universität Potsdam, 2017. https://ul.qucosa.de/id/qucosa%3A20930.

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Digital technologies are constantly changing our daily lives, including the way scholars work. As a result, also Classics is currently subject to constant change. Greek and Latin sources are becoming available in a digital format. The result is that Classical texts are searchable and can be provided with metadata and analyzed to find specific structures. An important keyword in this new scholarly environment is “networking”, because there is a great potential for Classical Philology to collaborate with the Digital Humanities in creating useful tools for textual work. During our workshop scholars who represent several academic disciplines and institutions gathered to talk about their projects. We invited Digital Humanists who have experience with specific issues in Classical Philology and who presented methods and outcomes of their research. In order to enable intensive and efficient work concerning various topics and projects, the workshop was aimed at philologists whose research interests focus on specific phenomena of ancient texts (e.g., similes or quotations). The challenge of extracting and annotating textual data like similes and text reuses poses the same type of practical philological problems to Classicists. Therefore, the workshop provided insight in two main ways: First, in an introductory theoretical section, DH experts presented keynote lectures on specific topics; second, the focus of the workshop was to discuss project ideas with DH experts to explore and explain possibilities for digital implementation, and ideally to offer a platform for potential cooperation. The focus was explicitly on working together to explore ideas and challenges, based also on concrete practical examples. As a result of the workshop, some of the participants agreed on publishing online their abstracts and slides in order to share them with the community of Classicists and Digital Humanists. The publication has been made possible thanks to the generous support of the Open Science Office of the Library of the University of Leipzig.

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Sims, Thomas. "A commentary on the fragments of fourth-century tragedy." Thesis, University of Nottingham, 2018. http://eprints.nottingham.ac.uk/55426/.

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Except for the pseudo-Euripidean Rhesus, fourth-century tragedy has almost entirely been lost to the ravages of time, known only through the quotation of a few isolated lines by later writers or preservation on some sand-worn scraps of papyrus. The poor survival of fourth-century tragedy has inevitably led to suggestions of low quality. Recent scholarship, however, has begun to revise these conclusions, recognising a remarkable inventiveness prevalent in the surviving fragments. This thesis aims to continue the rehabilitation of fourth-century tragedy and takes the form of a commentary on the fragments of Astydamas II, Carcinus II, Chaeremon, and Theodectas, the 'leading lights' of this period whose verses comprise over half of what remains. In the introduction, I focus on fourth-century tragedy in general and all its surviving fragments, even those not treated in the commentary. I begin by exploring the internationalisation of this genre and its spread to the Greek-speaking West and East. I then consider the prevalent themes and stylistic features of the fragments and examine fourth-century reaction to fourth-century tragedy, particularly in comedy, oratory, and philosophy. I also discuss fourth-century satyr drama and some of its best surviving examples, including Python's Agen. In the commentary, I provide a biography for each poet and explore their reception and that of their work. I then discuss each of their plays in turn, reconstructing plots where possible and providing information about other treatments of a myth in fifth- and fourth-century drama. Finally, I analyse each fragment, focusing on any textual issues, their literary, stylistic, and dramaturgical qualities, and on their relationship within the dramatic tradition and Greco-Roman literature. Through analysing the fragments in the form of a commentary, I hope to show that far from representing a 'terminal decline' as Edna Hooker once lamented, they instead display many remarkable qualities which make them worthy of study in their own right.

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Franchuk, Edward S. "Symbolism in the works of August Strindberg." Thesis, University of Glasgow, 1989. http://theses.gla.ac.uk/41056/.

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In many ways, Strindberg's works are among the most paradoxical in modern literature. Violently misogynistic, they nevertheless reveal a man who worships Woman, cannot live without her, loathing her as Mistress but adoring her as Mother; almost brutal in the violence of their emotions, they are at the same time gentle in the irony of their humour; totally unorthodox in their theology, they are profoundly religious; even when most naturalistic (as in Froken Julie: Miss Julie), they are highly symbolic. The leading practitioner of naturalistic drama is also the father of the theatre of the absurd. However unlike his works might appear to one another, and whatever the seeming contradictions and inconsistencies among the various ideas espoused and championed by Strindberg at different points in his career, his themes remained the same: his own life, the struggle for dominance between the sexes, psychological domination through the power of suggestion, the problem of the existence of evil and suffering in the world, and the influence of the supernatural on human life and history. And whatever his literary genre -- drama, poetry, novel, short story, satire, history, autobiography, scientific or philological treatise, political, philosophical, or religious essay -- these themes are expressed and developed through a rich and evocative symbolism drawn not only from the tribal treasury of archetypal images, but supplemented, shaped and refined by his own experience, imagination, and subconscious. An examination of his symbolism, then, will not only elucidate the works by making our interpretation of them surer, but should reveal a consistency and logical development in his writing not always apparent with other approaches. Symbolism can be seen as a kind of shorthand: a way of enriching a text which, particularly in drama, poetry, and the short story, is often more or less severely constrained in terms of length: by drawing on universal or traditional symbols, the author can suggest levels of meaning, connections, and associations which extend his work beyond the limits imposed on it. In more extended literary genres, such as the novel, on the other hand, symbolism is often used only sparingly. Over the course of his career, an author also builds up a set of personal symbols, drawn from his experience, his reading, his interests, and, ultimately, his view of the world; his work cannot be fully understood without an awareness of these symbols. This study seeks to identify Strindberg's symbols, to search out their meanings, to relate them to each other, to the works in which they occur, and to the body of work as a whole, and to suggest, wherever possible, their sources. The overwhelming tendency in Strindberg studies is to approach the works as biographical and/or psychological documents. His habits of working from living models (a practice he called vivisection), of fictionalizing his own experiences, and of meticulously documenting his life and his intellectual and spiritual development make this inevitable. This study does not ignore the author's biography (impossible in such an autobiographical writer), but seeks to place the emphasis elsewhere, on the more exclusively literary concern of meaning (as opposed to reference). Strindberg always considered himself primarily a dramatist, and indeed it is almost exclusively as such that the non-Swedish world knows him. It is, therefore, with Strindberg's plays that this study is primarily concerned. He was, however, a prolific writer, covering most genres, and much of his non-dramatic writing expands upon, explains, or provides the source for, the symbolism of the plays. With two or three minor exceptions (noted in the text), I have therefore looked at all of Strindberg's published works; those not mentioned have been omitted because they do not contribute in any significant way to an understanding of his symbolism. Preference has been given to the Swedish texts in the twenty-two volumes which have appeared so far in the ongoing "National Edition" (Samlade verk: Collected Works); for works which have not yet appeared there, I have used, in the first instance Gunnar Brandell's Skrifter (Writings, the Swedish edition which Glasgow University Library possesses), and, for works that appear in neither of those editions, John Landquist's monumental Samalade skrifter (Collected Writings). Although I have often consulted various English translations, the translations of cited passages are my own, except where noted. Biblical quotations are cited from a variety of English translations, in an attempt to stay as close as possible to the Swedish wording cited by Strindberg; when it is a question of simply providing a reference, I have preferred to cite The Jerusalem Bible. In a few instances, where no English translation could be found which corresponded satisfactorily to Strindberg's version (whether through an anomaly of the Swedish translation he used -- presumably the Karl XII Bible -- or through his own deliberate or unconscious misquotation), I have translated the citation literally. In quotations (and in their translations), underlined ellipses (...) are Strindberg's own; those not so distinguished (...) indicate an omission from the text. In a few instances, when scenes in the Swedish text are unnumbered, I have supplied numbers as an aid to locating cited passages in a translation.

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Myers, Matthew S. "Vision and space in Tacitus." Thesis, University of Nottingham, 2018. http://eprints.nottingham.ac.uk/51584/.

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This thesis explores the role of vision and space in the works of Tacitus. A number of recent studies have assessed the importance of vision, space, and the gaze in ancient literature, across a variety of different authors. The gaze in epic poetry has been analysed by Leigh (1997), Smith (2005), and Lovatt (2013); Feldherr (1998) has considered the role of spectacle in Livy; and Purves (2010) and Rimell (2015) have examined the role of space in Greek literature and Roman poetry respectively. Yet there has been no substantial study of these themes in Tacitus. The present work addresses this gap in scholarship by providing a wide ranging survey of visuality across the Tacitean corpus which extends from the gaze of the emperor and other individuals, to the collective gaze of the Roman populace and the gaze of the reader; within settings such as the dining room, the senate house, the city, and the battlefield. In considering this diverse material, I highlight the importance of taking a wide-ranging approach to the study of Tacitus’ visual techniques, emphasising the interrelation between disparate strands of Tacitean visuality. Such an eclectic approach reveals the centrality of vision and space to Tacitus’ ideas of power, control, corruption, and manipulation under the early principate, as well as the inherent ambiguity of Tacitus’ conception of the gaze. The thesis begins by considering some characteristics of Tacitus’ visual technique and analysing his use of language to create visual scenes. The focus then turns to the individual gaze, in two chapters centred on the gaze of the emperor. Here the imperial gaze emerges as a dominant force that is intrinsically linked to the emperor’s power, yet is also open to manipulation and corruption. This is followed by a chapter on battles and battlefields, in which Tacitus’ use of landscape and visual description is used to explore themes of military power and control and the corrupting nature of civil war. The final main chapter considers the role of spectacle in the city of Rome in the Histories, outlining a Tacitean approach to the viewing of violent spectacle that emphasises the corruption of morals and the breakdown of societal norms. These various themes are drawn together in the concluding chapter, which highlights the role of vision and space as a central pillar in Tacitus’ exploration of power under the principate.

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Zourgou, Anna. "The judgement of Paris in ancient Greek art and literature." Thesis, University of Nottingham, 2018. http://eprints.nottingham.ac.uk/51092/.

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The Judgement of Paris has been one of the most influential and popular myths throughout antiquity. Significant work has been done by previous scholars on the collection and analysis of artistic representations of the Judgement. This thesis is also looking into the Judgement of Paris in ancient Greek art, but it mainly focuses on the collection and analysis of the references to the myth in Greek literature from the eighth century B.C. to the second century A.D. Special attention is paid to recurring themes and ideological implications that the Judgement story raises, as well as to the interaction between those themes and specific genres. The detailed account and analysis of the references available sheds light not only on the perception of the myth itself, but also on conceptions of morality, beauty, gods, free choice, responsibility and even humour in antiquity. Through this thesis it is possible to see the transformations of the Judgement of Paris throughout centuries of literature, from its very first appearance in Homer’s Iliad to the enjoyable world of Lucian, realising the vast possibilities of this mythological tradition.

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Butzbach, Lazaretta. "Classical Greek tragedy and the city culture of Athens." Thesis, University of Warwick, 2006. http://wrap.warwick.ac.uk/1167/.

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As argued, the connection between Athenian BC society and tragedy - an area of research far from exhausted - should be examined on the basis of an anthropological/cultural, and rather comparatively oriented perspective, rather than a purely historical or literary one. A further defence holds that such an approach explores in a fresh way the connection between the two which is based on a model of self, on the one hand, and Sophocles' and Euripides' characters on the other - both proposed to consist of the same culturally framed, yet diversely expressed components which define an individual actor/self as would be portrayed by anthropological studies. Because of the proposed nexus of variously expressed components, the staged character is seen as an agent who exposes the complexity and ambiguity of one's own self of whom the individual agent was unaware of possessing. The above argument, approached mainly through primary sources, will be defended as follows. After defining in the introduction concepts such as `self' and `performance', the discussion on the components of self and character begins by exploring their background - the ideology and culture of Athens. As argued, because of particular factors linked to economic and military power, Athens is contrasted with other Greek cities, and at the same time, its performance culture becomes the topos of the performing self. The second chapter defends the concepts of self and dramatic character, as well as the elements associating them which are cultural projections of the society, but also are associated with the notion of `self as presented in recent anthropological discussions of human agency. Lastly, the third chapter argues on the actualisation of the self's model on stage; after the comparative analysis of the characters' actions in three plays by Sophocles, and three by Euripides, the conclusion reached is that the proposed model of self, cultural, but also self-reliant, is an entity which is utilised as a model agent of staged characters.

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Graham, Sarah Jane. "Classical elements in early Christian depictions of the afterlife." Thesis, University of Glasgow, 2018. http://theses.gla.ac.uk/30739/.

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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.

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Ryan, Cressida. "Eighteenth-century responses to Sophocles' Oedipus at Colonus." Thesis, University of Nottingham, 2010. http://eprints.nottingham.ac.uk/14467/.

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This thesis is a synchronic reception study of a single play, the Oedipus at Colonus. Rather than providing a commentary, or extracting one or two themes in isolation for examination, it considers the play through the lens of the eighteenth century. In so doing it offers a variety of disciplinary approaches, looking at the QC through the eyes of an aesthetic philosopher, creative writer, textual critic, artist, politician, historian, art historian, composer, musicologist, teacher or clergyman. After an introduction outlining some basic presuppositions for the thesis, chapter 1 covers aesthetic philosophy, chapter 2 books, chapter 3 staged reworking, chapter 4 paintings and chapter 5 opera. In reflecting on the play from such a broad range of perspectives, a range of insights emerge. The major theme is the way in which aesthetics develops over time and how these developments are reflected in the wide range of material under discussion. This thesis is about the sublime. Reading the DC through eighteenth-century eyes prioritises certain aspects of it which can, in various guises and at various times, be understood as sublime. This places great emphasis on themes such as religion and the role of landscape, while diminishing others, such as that of blindness, which might usually seem obvious ways to think about the play. Each act of reception draws out something slightly different from the Greek model, and by examining a range of material, our overall appreciation of the play and the eighteenth century is significantly enhanced, particularly in respect to the aforementioned themes.

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Liapis, Vayos. ""Nothing that is not Zeus" the unknowability of the Gods and the limits of human knowledge in Sophoclean tragedy." Thesis, University of Glasgow, 1997. http://theses.gla.ac.uk/615/.

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In the present thesis the author professes to offer neither a systematic account of Sophoclean theology (if indeed there is such a thing) nor a study of the epistemological problem per se in Sophoclean tragedy. His purpose is rather to illuminate - partly expanding on a brief but suggestive study by Hans Diller ("Gottliches und menschliches Wissen bei Sophocles", Kiel 1950) - the ways in which the epistemological chasm between Man and God in Sophoclean tragedy becomes manifest through a 'collision' between the incompleteness and limitedness of human knowledge on the one hand and the transcendence and the unknowability of the gods on the other. An introductory chapter is prefixed which deals with the development of the idea of divine unknowability in archaic Greek literature and in Presocratic philosophy. There follows a detailed examination of the extant plays one by one (with special emphasis on the close reading of practically all the choral odes), by means of which the author endeavours to demonstrate that the centrality of the epistemological problem (in relation, always, to the inscrutability of the Godhead) in Sophocles, far from reducing his dramas to abstract philosophical treatises, contains a tremendous tragic potential and makes for powerful plays. Aspects of each play's structure, of its thematic articulation and of its vocabulary are studied, while a variety of methodological approaches are employed in order to illuminate problems of interpretation. All important secondary literature is cited and / or discussed. Thus, while never losing sight of its central concern (divine unknowability, limitedness of human knowledge), the present thesis also aims to be a thorough study of Sophoclean tragedy as a whole.

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Books on the topic "Philology, Classical"

1

Kathleen, Droste, and Library of Congress , eds. Philology, linguistics: Classical philology, classical literature. Detroit: Gale Research, 1994.

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Giangrande, Giuseppe. Studies in classical philology. Amsterdam: A.M. Hakkert, 1992.

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Tadmor, Dikla. Writings in philology. [Jerusalem: s.n.], 1985.

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Powell, J. G. F. Introduction to philology for the classical teacher. Cambridge: The Joint Association of Classical Teachers, and The Greek Project, 1988.

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Lightfoot, Joseph Barber, Fenton John Anthony Hort, and John Eyton Bickersteth Mayor, eds. The Journal of Classical and Sacred Philology. Cambridge: Cambridge University Press, 2009. http://dx.doi.org/10.1017/cbo9781139383103.

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Lightfoot, Joseph Barber, Fenton John Anthony Hort, and John Eyton Bickersteth Meyer, eds. The Journal of Classical and Sacred Philology. Cambridge: Cambridge University Press, 2009. http://dx.doi.org/10.1017/cbo9781139383110.

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Lightfoot, Joseph Barber, Fenton John Anthony Hort, and John Eyton Bickersteth Meyer, eds. The Journal of Classical and Sacred Philology. Cambridge: Cambridge University Press, 2009. http://dx.doi.org/10.1017/cbo9781139383127.

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Lightfoot, Joseph Barber, Fenton John Anthony Hort, and John Eyton Bickersteth Meyer, eds. The Journal of Classical and Sacred Philology. Cambridge: Cambridge University Press, 2009. http://dx.doi.org/10.1017/cbo9781139383134.

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Selected classical papers. Ann Arbor: University of Michigan Press, 1997.

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Wilamowitz-Moellendorff, Ulrich von. Geschichte der Philologie. 3rd ed. Stuttgart und Leipzig: B.G. Teubner, 1998.

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Book chapters on the topic "Philology, Classical"

1

Crane, Gregory, Brent Seales, and Melissa Terras. "CYBERINFRASTRUCTURE FOR CLASSICAL PHILOLOGY." In Changing the Center of Gravity, edited by Melissa Terras and Gregory Crane, 1–56. Piscataway, NJ, USA: Gorgias Press, 2010. http://dx.doi.org/10.31826/9781463219222-005.

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Ambrosini, Riccardo. "2. Interpretive constraints versus ad sensum anaphora in Classical Greek." In Historical Philology, 15. Amsterdam: John Benjamins Publishing Company, 1992. http://dx.doi.org/10.1075/cilt.87.06amb.

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Talbert, Richard J. A. "Maps for the Classical World: Where Do We Go from Here? (American Journal of Philology 118.2: 1997. pp. 323–27)." In Challenges of Mapping the Classical World, 166–68. Abingdon, Oxon ; New York, NY : Routledge, 2018.: Routledge, 2018. http://dx.doi.org/10.4324/9780429485688-12.

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Baumann, Uwe. "Thomas More, Erasmus of Rotterdam, Humanist Erudition, Bible Philology and the Authority of the Classical Tradition." In Lectio, 21–71. Turnhout, Belgium: Brepols Publishers, 2020. http://dx.doi.org/10.1484/m.lectio-eb.5.121277.

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de Jong, Irene J. F. "25 Klassische Philologie / Classics." In Handbuch Historische Narratologie, 275–84. Stuttgart: J.B. Metzler, 2019. http://dx.doi.org/10.1007/978-3-476-04714-4_25.

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Trüper, Henning. "ENTANGLEMENTS OF CLASSICS AND ORIENTALISM IN THE HISTORY OF PHILOLOGY, AND OF PRINCETON UNIVERSITY, CIRCA 1900." In Studying the Near and Middle East at the Institute for Advanced Study, Princeton, 1935–2018, edited by Sabine Schmidtke, 35–44. Piscataway, NJ, USA: Gorgias Press, 2018. http://dx.doi.org/10.31826/9781463240035-009.

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"Classical Philology." In Encyclopedia of Sciences and Religions, 385. Dordrecht: Springer Netherlands, 2013. http://dx.doi.org/10.1007/978-1-4020-8265-8_100182.

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"Character Encoding of Classical Languages." In Digital Classical Philology, 137–58. De Gruyter Saur, 2019. http://dx.doi.org/10.1515/9783110599572-009.

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"Introduction." In Digital Classical Philology, 1–4. De Gruyter Saur, 2019. http://dx.doi.org/10.1515/9783110599572-001.

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"The Free First Thousand Years of Greek." In Digital Classical Philology, 7–18. De Gruyter Saur, 2019. http://dx.doi.org/10.1515/9783110599572-002.

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