By Lorna Hardwick, Christopher Stray
Reading the great quantity of the way within which the humanities, tradition, and considered Greece and Rome were transmitted, interpreted, tailored and used, A spouse to Classical Receptions explores the impression of this phenomenon on either old and later societies.
- Provides a entire creation and evaluation of classical reception - the translation of classical paintings, tradition, and inspiration in later centuries, and the quickest transforming into quarter in classics
- Brings jointly 34 essays via a global staff of participants interested in old and glossy reception strategies and practices
- Combines shut readings of key receptions with wider contextualization and discussion
- Explores the influence of Greek and Roman tradition around the globe, together with an important new components in Arabic literature, South African drama, the background of images, and modern ethics
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Additional info for A Companion to Classical Receptions
More generally, the discipline of classics is built on a particular understanding of the relationship between Greece and Rome – a relationship exemplified by Livius Andronicus’ translation of the Odyssey (Leo 1913; Barchiesi 2002). At a basic level, we may ask two questions: in what ways the ancient reception of Homer shaped modern readings; and, conversely, how modern views about Homeric epic affect our understanding of its ancient reception. But these two questions are, in fact, inadequate. Many ancient and, indeed, modern acts of reception challenge linear notions of time, or of literary history, so that any neat division between the ancient and modern reception of Homer is called into question by the very acts which are usually studied under those two labels.
V. ‘Greece/Greeks’). At the other end of the political scale, and with blatantly invidious intent, the Italian Fascists portrayed themselves as part of a tradition started by the Romans (Stone 1999). Clearly, talk of tradition is often selfinterested, and the self-interest may be judged admirable or contemptible. Our two case studies are less highly charged. qxd 13/09/2007 09:03 AM Page 25 Reception and Tradition 25 is not an Anacreontic poem; and as we have discussed Cowley’s use of Anacreon is not innocent.
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. Reception and the Homeric Tradition From the reception of Anacreon in early modern Britain we move on to another area where the concept of tradition is of particular interest to students of reception. In the first half of the twentieth century, Milman Parry influentially defined Homeric poetry as the product of a traditional art form (Parry 1971).