If Auerbach's Mimesis tells a story, it's not one that is obvious or simply summarized. His close reading of passages from widely d...

We've spent a month with a couple of chapters from Eric Auerbach's  Mimesis;  let's hope it's been beneficial both as an ob...

These are some of the key passages toward the end of Mimesis Chapter 8, Farinata and Cavalcante : Of the writers we know, he was the firs...

While our plan is to discuss Erich Auerbach's chapter entitled "Farinata and Cavalcante" ( Mimesis ch. 8) on Wednesday, we...

It was our thought last week to stay with Erich Auerbach for one more session. Last time we talked about "Odysseus' Scar," th...

Time, History and Literature   gathers a substantial number of previously uncollected essays by the German critical philologist Erich ...

Erich Auerbach focuses mainly on two scenes in his discussion of the roots of Western modes of representation -- the scene with Euryklea i...

A key distinction made by Erich Auerbach in "Odysseus' Scar," the first chapter of Mimesis , comes through his differentiatio...

Jutta points us to a WSJ piece about a new translation of 16 Greek plays  by James Romm and Mary Lefkowitz. Here's a snippet from the i...

Our next meeting will be the first Wednesday in September - the 7th. But as a number of our group will still be away, instead of jumping r...

Margaret writes to tell us that the new Criterion version of Chimes at Midnight , Orson Welles's unique rendering of Falstaff, will so...

As we prepare for Verdi's Falstaff , here are the texts of Henry IV Part 1 and Part 2 . A few selections from the opera and from...