The late Robert Germany studied Classics at the University of Texas, the University of Basel, and the University of Chicago. He previously taught at Trinity University and was Associate Professor of Classics at Haverford College. He worked primarily on Greek New and Roman comedy and Republican culture and was writing a monograph on the Unity of Time in ancient and early modern theatre.

• Frontispiece Acknowledgements Introduction 1: Judging Chaerea: the Role of the Painting 2: Quickening Images: Mimetic Contagion in Cultic and Erotic Art 3: Lifelike Likeness: Mimetic Contagion in the Philosophical Tradition 4: Mimetic Contagion in Terence's Rome 5: Mimic Rape: Genre Switching and Role Confusion 6: The Poetics of Contamination Epilogue Bibliography Index

This impeccably produced book is unpretentiously erudite; as the saying goes, much more than the sum of its (very many, ancient and modern) parts, impressively documented and arranged: literary-philological analysis and performance criticism, art-historical and anthropological inquiry, sociocultural and intellectual history. Germany regularly deploys critical theory pedagogically judiciously, painlessly introducing uninitiated readers to Benjamin, Foucault, Frazer, Gell, and Irigaray, to name some. Ultimately, Germany's sophisticated and dense analysis, masterfully delivered in clear, serene prose is a pleasure to read. All along, the book is very polemical-indeed fundamentally polemical-though about as honestly and pertinently as polemics can be. ... This book, a giant step forward in Terentian scholarship, is in every respect his worthy legacy

The late Robert Germany studied Classics at the University of Texas, the University of Basel, and the University of Chicago. He previously taught at Trinity University and was Associate Professor of Classics at Haverford College. He worked primarily on Greek New and Roman comedy and Republican culture and was writing a monograph on the Unity of Time in ancient and early modern theatre.

• Frontispiece Acknowledgements Introduction 1: Judging Chaerea: the Role of the Painting 2: Quickening Images: Mimetic Contagion in Cultic and Erotic Art 3: Lifelike Likeness: Mimetic Contagion in the Philosophical Tradition 4: Mimetic Contagion in Terence's Rome 5: Mimic Rape: Genre Switching and Role Confusion 6: The Poetics of Contamination Epilogue Bibliography Index

This impeccably produced book is unpretentiously erudite; as the saying goes, much more than the sum of its (very many, ancient and modern) parts, impressively documented and arranged: literary-philological analysis and performance criticism, art-historical and anthropological inquiry, sociocultural and intellectual history. Germany regularly deploys critical theory pedagogically judiciously, painlessly introducing uninitiated readers to Benjamin, Foucault, Frazer, Gell, and Irigaray, to name some. Ultimately, Germany's sophisticated and dense analysis, masterfully delivered in clear, serene prose is a pleasure to read. All along, the book is very polemical-indeed fundamentally polemical-though about as honestly and pertinently as polemics can be. ... This book, a giant step forward in Terentian scholarship, is in every respect his worthy legacy

The late Robert Germany studied Classics at the University of Texas, the University of Basel, and the University of Chicago. He previously taught at Trinity University and was Associate Professor of Classics at Haverford College. He worked primarily on Greek New and Roman comedy and Republican culture and was writing a monograph on the Unity of Time in ancient and early modern theatre.

• Frontispiece Acknowledgements Introduction 1: Judging Chaerea: the Role of the Painting 2: Quickening Images: Mimetic Contagion in Cultic and Erotic Art 3: Lifelike Likeness: Mimetic Contagion in the Philosophical Tradition 4: Mimetic Contagion in Terence's Rome 5: Mimic Rape: Genre Switching and Role Confusion 6: The Poetics of Contamination Epilogue Bibliography Index

This impeccably produced book is unpretentiously erudite; as the saying goes, much more than the sum of its (very many, ancient and modern) parts, impressively documented and arranged: literary-philological analysis and performance criticism, art-historical and anthropological inquiry, sociocultural and intellectual history. Germany regularly deploys critical theory pedagogically judiciously, painlessly introducing uninitiated readers to Benjamin, Foucault, Frazer, Gell, and Irigaray, to name some. Ultimately, Germany's sophisticated and dense analysis, masterfully delivered in clear, serene prose is a pleasure to read. All along, the book is very polemical-indeed fundamentally polemical-though about as honestly and pertinently as polemics can be. ... This book, a giant step forward in Terentian scholarship, is in every respect his worthy legacy