A Companion to Classical Receptions by Lorna Hardwick, Christopher Stray

By Lorna Hardwick, Christopher Stray

Interpreting the great quantity of how within which the humanities, tradition, and regarded Greece and Rome were transmitted, interpreted, tailored and used, A significant other to Classical Receptions explores the influence of this phenomenon on either old and later societies. presents a finished advent and evaluation of classical reception - the translation of classical artwork, tradition, and suggestion in later centuries, and the Read more...


interpreting the great quantity of how during which the humanities, tradition, and considered Greece and Rome were transmitted, interpreted, tailored and used, A better half to Classical Receptions explores the Read more...

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There is almost certainly something hardwired in the appeal of particular simple forms and particular themes like drink and desire. The risk in looking for cognitive patterns isof course that one goes too far and starts treating Anacreontic poems as exemplars of more or less universal patterns, ignoring their individuality, their links with certain contexts and the fluctuations of their popularity. The potential pitfalls are obvious, but so is the need to understand more fully why Cowley and others chose to write ‘Anacreontics’, rather than simply using the Anacreontic poems they read as a quarry, or a foil against which to present their own ideas.

Freddy Decreus pushes to their limits post-modern approaches to ancient drama with a discussion of post-dramatic reworking of ancient tragedy in avant-garde performances that also bears on the discussion of physicality in Verakis’ chapter. She demonstrates how classical drama can provide a field for practitioners and audiences to recognize and confront their own situations and dilemmas. Part VI moves to film. The chapters by Joanna Paul and Hanna Roisman should stimulate debate because of their different starting points and the contrasts in their methods of identifying and evaluating the relationship between modern films and the ancient texts and contexts on which they draw (one primarily Roman and historical, one Greek and literary in emphasis).

Zeus ruled the entire world, not just Greece. Poseidon caused earthquakes all over, not just in Greece. It is here that we find some of the common ground between epic tradition and near eastern reception that so often proves elusive: Homer’s gods may well have reached the Greeks from the East and they are certainly meant to look international; but at the same time they are also perfectly traditional. This last point can now be generalized: in the context of strongly traditional art forms like early Greek epic, the study of reception acquires a specific meaning.

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