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Relevant bibliographies by topics / Classical reception

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Academic literature on the topic 'Classical reception'

Author: Grafiati

Published: 4 June 2021

Last updated: 10 March 2023

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Journal articles on the topic "Classical reception"

1

Bridges, Emma, and Henry Stead. "Reception." Greece and Rome 67, no. 2 (October 2020): 287–92. http://dx.doi.org/10.1017/s0017383520000145.

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Bloomsbury's Imagines series, edited by Filippo Carlà-Uhink and Martin Lindner, focuses on classical receptions in the visual and performing arts. It has blazed into 2020 with three edited volumes and one monograph. The monograph by Carlà-Uhink is on the reception of classical Greece in theme parks, and the edited volume that has landed on our desk is Classical Antiquity in Video Games. In this attractive volume, clad in the stylish graphics of Alientrap's Apotheon (2015), Christian Rollinger has assembled a vital collection of essays on the underexplored subject. As he emphatically proclaims, ‘Video games are everywhere’ (xiii) and this book is a lifeline for countless university teachers faced with the task of supervising students enthusiastically writing about the ever-expanding mass of classically inspired games.

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Easterbrook, Rhiannon. "Reception." Greece and Rome 69, no. 1 (March 7, 2022): 167–71. http://dx.doi.org/10.1017/s0017383521000346.

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While this issue's selection of books on classical reception is diverse in subject area and methodology, one theme they all share is a focus on place and space. The Classics in South America by Germán Campos Muñoz and Time and Antiquity in American Empire by Mark Storey are particularly focused on Classics and the spatiality of empire. South America's location beyond the extent of the world known to the Roman Empire provided an interesting point of departure for the classically inclined inhabitants of the continent as they considered continuities and disjunctures with the time and space of classical antiquity. Campos Muñoz's second and third case studies discuss an array of material and literary evidence in examining how both colonial and anti-imperial activities were framed with respect to ancient history and epic. We see how a sixteenth-century Spanish nobleman celebrated becoming Viceroy of Peru in a procession through a triumphal arch adorned with Latin hexameter and classical motifs. Similarly, Simón Bolívar, the revolutionary and subject of classical odes celebrating his liberation of South American territories, enjoyed classicizing triumphs and parades (140). These contrasting case studies show the ongoing significance of the Roman Empire to South America, even as its imperial status changed dramatically.

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Harloe, Katherine, and Joanna Paul. "Reception." Greece and Rome 63, no. 2 (September 16, 2016): 277–83. http://dx.doi.org/10.1017/s0017383516000152.

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Does the discipline of classical reception studies shirk questions of distinctiveness and value? Such is the gauntlet thrown down by Michael Silk, Ingo Gildenhard, and Rosemary Barrow in their 2014 magnum opus, The Classical Tradition. Full consideration of this important work must be reserved for a later issue. It is nonetheless worth rehearsing its opening distinction between ‘the classical tradition’ and ‘reception’, since thinking about it has informed our reading of a number of the books reviewed below.

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Paul, Joanna. "Reception." Greece and Rome 64, no. 2 (October 2017): 217–20. http://dx.doi.org/10.1017/s0017383517000146.

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In American Arcadia, Peter Holliday offers readers a sumptuous and fascinating account of ‘California and the Classical Tradition’. Beautifully presented and illustrated, this book is not only a thought-provoking and pleasurable read but also a valuable addition to the body of scholarship that has explored classical receptions in the United States at some length in recent years. Much of that scholarship has focused on now familiar terrain, from the fixation on antiquity in Hollywood and popular culture more broadly, to the grandiose evocations of classical architecture in eastern cities such as Washington, DC, and New York. California, by contrast, for all its prominence on the world stage and in the cultural imagination, might not spring so readily to mind as a rich locus of classical receptions, but Holliday convincingly demonstrates ‘how Californians used classical antiquity as a metaphor for fashioning the Golden State and their own lives in it’ (355). Although well-known buildings such as the Getty Villa, Hearst Castle, and Caesar's Palace rightly receive lengthy discussion, there are a wealth of examples which are likely to be new to many readers, from the nineteenth-century Hungarian refugee building a Pompeian villa in a self-consciously Arcadian landscape, to the 1960s development of the CalArts campus, whose Modernist architects yet proclaimed their debt to Athens and Rome. Nor is the book solely concerned with architecture. Although the built environment is at its core, the full range of Californian identification with, and appropriation of, classical imagery and ideology is explored. The final chapter, for example, shows how pursuers of the quintessentially Californian healthy lifestyle and body beautiful knowingly looked to classical paradigms on multiple occasions. Resisting the temptation to frame all of this in a conventional ‘classical tradition’ approach, Holliday takes pains to show the full extent of the interaction and innovation that characterizes Californian classicism, and the resulting study is highly recommended.

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Bakogianni, Anastasia. "What is so ‘classical’ about Classical Reception? Theories, Methodologies and Future Prospects." CODEX – Revista de Estudos Clássicos 4, no. 1 (June 19, 2016): 96. http://dx.doi.org/10.25187/codex.v4i1.3339.

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<p>This paper delivered at the University of Rio on 3<sup>rd</sup> June 2015 seeks to explore different approaches to the most fundamental questions in classical reception studies. What is classical reception? And more particularly what is so ‘classical’ about classical reception? It discusses current trends in theory and methodology via an analysis of two cinematic receptions of the ancient story of Electra; one that proclaims its debt to a classical text while the other masks its classical connections.</p><div class="page" title="Page 1"><div class="layoutArea"><div class="column"><p><strong>Resumo</strong></p><p><strong></strong><span>Este trabalho apresentado na Universidade Federal do Rio de Janeiro em 3 de junho de 2015 busca explorar as diferentes abordagens sobre as questões mais fundamentais dos estudos de recepção dos clássicos. O que é a recepção dos clássicos? E, mais especificamente, o que há de tão ‘clássico’ na recepção dos clássicos? O trabalho discute tendências correntes na teoria e metodologia através de uma análise de duas recepções cinematográficas da história antiga de Electra: uma que proclama sua dívida ao texto clássico, enquanto que a outra mascara suas conexões clássicas. </span></p><p><strong>Palavras-chave: </strong><span>recepção dos clássicos; Electra; Cacoyannis; </span><span>Angelopoulos</span></p></div></div></div>

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Paul, Joanna. "Reception." Greece and Rome 61, no. 2 (September 12, 2014): 308–11. http://dx.doi.org/10.1017/s0017383514000151.

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A recent special issue of the Classical Receptions Journal marked the twentieth anniversary of the publication of Charles Martindale's Redeeming the Text. Latin Poetry and the Hermeneutics of Reception. Although the rich and various examples of classical reception scholarship that have appeared over the past two decades are by no means all cut from Martindale's cloth, the ‘seminal’ and ‘influential’ nature of his study is surely not in doubt. It is fitting, then, that this issue's round-up of reception publications focuses on a small cluster of recent studies that, like Redeeming the Text, explore the complex reception histories of Latin literature, and do so with a keen eye to the theoretical underpinnings of such scholarship; fitting, too, that our first title, Romans and Romantics, features Charles Martindale among its editors. The eighteen essays in this collection in fact range well beyond literature, with visual culture and the physical fabric of the city of Rome playing an important role; but encounters with Latin texts are a central component of the book, and the overarching theoretical and methodological framework for examining them bears the clear imprint of Martindale's reception manifesto. The introduction emphasizes the importance of remaining alert to the two-way dynamics of reception: not only do the contributors explore the ways in which Romanticism was shaped by antiquity, but they also examine the impact that Romanticism has had on subsequent views of antiquity. Although the idea of reception as a two-way process is often parroted, its implications are not always interrogated and explained so carefully as they are here. Most valuably, Romans and Romantics acknowledges and confronts the overly simple ‘myths’ that attach to our ideas of both the classical and the Romantic, showing how notions of what Romanticism ‘is’ are just as contingent and subject to distortion as those of the classical. So, for example, Timothy Saunders' fascinating chapter on ‘Originality’ successfully challenges the assumption that Romanticism was in some way antithetical or inimical to Roman studies, and that it was responsible for the lasting negative impression of Latin (literary) culture as imitative and inferior. Instead, he argues, ‘Romantic notions of originality’ (85) were more complex than we might assume, and could certainly find space for recognizing and celebrating Rome's creative use of its Greek heritage. Other chapters offer useful studies of the ‘varied, vital, and mutually sustaining’ (v) interactions between Romantics and Romans, including accessible accounts of key authors such as Shelley, Byron, and de Staël. Particularly worthwhile, though, is the final section, ‘Receptions’. By focusing on post-Romantic material, it lays bare our own modern preconceptions of the Romantic movement and encourages contemplation of how receptions of Romanticism are as important as receptions of Rome. Ralph Pite's excellent chapter on Thomas Hardy, for example, shows how this author, and many of his late nineteenth-century contemporaries, might be disappointed by visiting Rome: their expectations of the city, shaped by their own Romantic inheritance, could be undermined by the revelation of the modernized capital of a newly unified Italy, ‘threaten[ing] the post-Romantic traveller's cherished idea of ‘an eternal city frozen in time’’ (328).

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Silverblank, Hannah, and Marchella Ward. "Why does classical reception need disability studies?" Classical Receptions Journal 12, no. 4 (September 23, 2020): 502–30. http://dx.doi.org/10.1093/crj/claa009.

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Abstract Many of the ableist tropes around disability and disabled people in the modern world find their antecedents in ancient mythology and its reception, but the seemingly ‘traditional’ nature of these harmful tropes and reflexes of storytelling is not established by accident or in the absence of readers. We argue here that classical reception needs to look to disability studies for a methodology that will allow the field to begin to theorize the role of the reader in the perpetuation of the ideology of ableism and ideas of bodily normativity. The field of classical reception studies engages in the process of investigating how the ‘traditional’ comes to be accepted as pre-existing; as such, it is vital that classical reception look to disability studies for the tools with which to lay bare the ways in which the apparatus of ableism comes to seem traditional. This article sets out some strategies for bringing classical reception and disability studies together with the aim of developing a more critical philology, an ethically-invested method for doing classical reception, and the theoretical and practical tools to create a more inclusive field. In short, this article makes the case for ‘cripping’ classical reception studies.

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Leonard, Miriam, and Yopie Prins. "Foreword: Classical Reception and the Political." Cultural Critique 74, no. 1 (2010): 1–13. http://dx.doi.org/10.1353/cul.0.0060.

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De Pourcq, Maarten. "Classical Reception Studies: Reconceptualizing the Study of the Classical Tradition." International Journal of the Humanities: Annual Review 9, no. 4 (2012): 219–26. http://dx.doi.org/10.18848/1447-9508/cgp/v09i04/43201.

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Bakogianni, Anastasia. "O que há de tão ‘clássico’ na recepção dos clássicos? Teorias, metodologias e perspectivas futuras." CODEX – Revista de Estudos Clássicos 4, no. 1 (June 19, 2016): 114. http://dx.doi.org/10.25187/codex.v4i1.3341.

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<p>Este trabalho apresentado na Universidade Federal do Rio de Janeiro em 3 de junho de 2015 busca explorar as diferentes abordagens sobre as questões mais fundamentais dos estudos de recepção dos clássicos. O que é a recepção dos clássicos? E, mais especificamente, o que há de tão ‘clássico’ na recepção dos clássicos? O trabalho discute tendências correntes na teoria e metodologia através de uma análise de duas recepções cinematográficas da história antiga de Electra: uma que proclama sua dívida ao texto clássico<ins cite="mailto:Marina%20Albuquerque" datetime="2016-06-05T22:41">,</ins> enquanto que a outra mascara suas conexões clássicas.</p><p><strong>What is so ‘classical’ about Classical Reception? Theories, Methodologies and Future Prospects</strong></p><div class="page" title="Page 1"><div class="layoutArea"><div class="column"><p><strong>Abstract</strong></p></div></div><div class="layoutArea"><div class="column"><p><span>This paper delivered at the University of Rio on 3</span><span>rd </span><span>June 2015 seeks to explore different approaches to the most fundamental questions in classical reception studies. What is classical reception? And more particularly what is so ‘classical’ about classical reception? It discusses current trends in theory and methodology via an analysis of two cinematic receptions of the ancient story of Electra; one that proclaims its debt to a classical text while the other masks its classical connections. </span></p><p><strong>Keywords</strong><span><strong>:</strong> classical reception; Electra; Cacoyannis; </span><span>Angelopoulos </span></p></div></div></div>

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Dissertations / Theses on the topic "Classical reception"

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Challis, Deborah Joy. "Collecting classics : the reception of classical antiquities in public museums in England, 1830-1890." Thesis, Birkbeck (University of London), 2005. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.417268.

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Paschalis, Sergios. "Tragic palimpsests: The reception of Euripides in Ovid's Metamorphoses." Thesis, Harvard University, 2015. http://nrs.harvard.edu/urn-3:HUL.InstRepos:17467245.

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The subject of this dissertation is the reception of Euripidean tragedy in Ovid’s Metamorphoses. In Chapter 1 I offer a general survey of the afterlife of Euripidean drama in the major mediating intertexts between Euripides and Ovid, namely Hellenistic poetry, Roman Republican tragedy, and Virgil’s Aeneid, as well as a review of the pervasive presence of the Greek tragedian in the Ovidian corpus. Chapter 2 focuses on the reception of Euripides’ Bacchae in the Metamorphoses. The starting point of my analysis is Ovid’s epic rewriting of the Euripidean play in the Pentheus episode. Next, I argue that Ovid makes use of the allusive technique of “fragmentation”, in the sense that he grafts elements of the Bacchae in the narratives of the Minyads and Orpheus. The final section examines Ovid’s portrayal of Procne, Medea, and Byblis as maenads and their evocation of the Virgilian Bacchants Dido and Amata. In Chapter 3 I begin by investigating Ovid’s intertextual engagement with Euripides’ Medea in the Medea narrative of Book 7, which is read as an epicized “mega-tragedy” encompassing the Colchian’s entire mythical career. In the second part of the chapter I discuss the Roman poet’s reworking of the Euripidean tragedy in other episodes of the Metamorphoses and argue that Procne, Althaea, and Deianira constitute “refractions” of Euripides’ Medea. Chapter 4 examines Ovid’s epic refashioning of Euripides’ Hecuba, which he merges with Virgil’s alternative variant of the Polydorus myth in Aeneid 3. The Roman poet reshapes the main plot components of the Greek play, but also makes subtle allusions to the Virgilian version of the story. Chapter 5 is devoted to the episode of Virbius in Metamorphoses 15. Ovid produces a novel version of the myth by melding together his Euripidean model with Virgilian and Sophoclean intertexts. The Roman poet adapts Virgil’s Virbius story in Aeneid 7 by altering its context from a catalogue of Latin warriors into an exchange between Virbius and the nymph Egeria. Moreover, the Ovidian narrative draws on Euripides’ two Hippolytus plays, the extant Hippolytos Stephanephoros and the fragmentary Hippolytos Kalyptomenos, as well as on Sophocles’ Phaedra.
Classics

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Froelich, Jakob. "Classical Perspectives at the End of Antiquity." Thesis, Boston College, 2017. http://hdl.handle.net/2345/bc-ir:107418.

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Thesis advisor: Mark Thatcher
Rome changed throughout its history and the city that existed during the fourth century CE was different from the city that Virgil and Cicero lived in and described in their writings. The Roman state and society changed during the intervening four centuries as Rome ceased to be politically significant, elite behavior became increasingly disconnected from any role in governance, and the traditional religious cults were neglected as Christianity gained prominence. Despite these changes, Roman tradition dictated an idealization of ancestral custom, which was preserved in the corpus of extant literature. I argue that among the elites of fourth century society, there were individuals such as Ammianus Marcellinus or Symmachus who interpreted and responded to their society through the filter of these fossilized images of an idealized Rome. Although they lived in largely post-classical time, their writings express a worldview that is congruent with the late Republic and early Principate
Thesis (BA) — Boston College, 2017

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Bouchard, Dominique S. "The reception of Classical antiquity in Calabria, 500-1700." Thesis, University of Oxford, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.600390.

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This study considers the reception of classical objects in Calabria from the final years of Roman dominance in the region to the end of Spanish Habsburg control of the Kingdom of Naples at the end of the seventeenth century. It argues that despite political and cultural fragmentation across the region, the reception of Greek and/or Roman objects in Calabria has had a continuous role in the development of a regional identity with multiple socio-political and cultural facets. By tracing developments in the discovery, collection and scholarship of classical antiquities in Calabria, this study helps to highlight interpretations of classical objects across overlapping geopolitical areas and periods of time. It shows how reception of ancient Greek and Roman antiquities evolved over time and how the manner of their discovery, display and scholarship influenced reception in later periods and therefore nuanced aspects of reception in different periods can best be understood in the context of past receptions. It is therefore a secondary argument of this study that reception is usefully studied as a self-reflexive tradition of interpretation and reinterpretation across temporal and geographic boundaries. Archival evidence from Calabria helps to support an approach to the past in which historical authenticity was regulated by texts rather display.

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Vaananen, Katrina Victoria. "Renaissance Reception of Classical Poetry in Fracastoro’s Morbus Gallicus." The Ohio State University, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=osu1506444910819066.

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Wentzel, Rocki Tong. "Reception, gifts, and desire in Augustines’s Confessions and Vergil’s Aeneid." The Ohio State University, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=osu1198858389.

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Walsh, Philip Alexander. "Comedy and conflict : the modern reception of Aristophanes." View abstract/electronic edition; access limited to Brown University users, 2008. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&res_dat=xri:pqdiss&rft_dat=xri:pqdiss:3324389.

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Potter, Amanda Jayne. "Viewer reception of classical myth in Xena: warrior princess and Charmed." Thesis, Open University, 2013. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.601799.

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This thesis engages with the representation of Greek myths and mythical characters in the television series Xena: Warrior Princess (1995-2001) and Charmed (1998-2006), by adapting a viewer-centric methodology used in television studies. I include episodes of the series featuring the story of Pandor a, the Furies, Amazons and Greek goddesses. Although the main focus of my research was on viewer reception of the television episodes, I also include an analysis of the ancient sources that may have been used by the television writers and producers, providing textual evidence where there is clear influence. Throughout my thesis I analyse data obtained from viewers about their understanding of the myths and their reactions to the episodes. These viewers were recruited into three groups; fans of the series, classicists who had completed as a minimum a first degree in a classics-related subject, and' general viewers', a group of viewers who were neither fans nor classicists. Data was obtained via recorded focus group discussions and written or email 'interview questionnaires', completed between 2006 and 2011. As part of their viewing experience the classicists and ,many of the fans were able to draw on information that they had gained about the myths from sources outside the television episodes. The general viewers had a limited understanding of the myths before watching the episodes. I argue that these groups of viewers tended to react in different ways to the episodes, and to sources of Greek myths in general. However, viewers across all groups were able to understand and enjoy the episodes. Series' creators can therefore appeal to a wide audience, by incorporating and often subverting mythic content to tell a modem story, which can be understood by all.

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Chan, Kwok-kou Leonard, and 陳國球. "The reception of Tang poetry in the Ming neo-classical criticism." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1988. http://hub.hku.hk/bib/B31231081.

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Barker, Georgina Frances. "Russia's classical alter ego, 1963-2016 : classical reception in the poetry of Elena Shvarts, Il’ia Kutik, and Polina Barskova." Thesis, University of Edinburgh, 2017. http://hdl.handle.net/1842/22965.

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Classical reception, suppressed under Stalin, returned to Soviet poetry during the Thaw (c. 1953-63), and through the many political upheavals of the late twentieth century it has remained a prominent trend in contemporary Russian poetry. This thesis explores classical reception in the oeuvres of Elena Shvarts, Il’ia Kutik, and Polina Barskova, whose poetry spans from 1963 to the present. They form part of – and serve as case studies for – the wider trend of late- and post-Soviet poetic engagement with classical antiquity. This phenomenon has been studied in the cases of Thaw poets Iosif Brodskii and, to a lesser extent, Aleksandr Kushner, but investigations have not extended beyond these figures to the succeeding Stagnation and post-Soviet poets. Shvarts, Kutik, and Barskova come from different generations and different poetic schools, and have very different poetic styles. They share a sustained and playful engagement with the literature and history of Ancient Greece and Rome, which is often in dialogue with earlier Russian receptions of classical antiquity. Their classical reception is frequently intended to ‘estrange’ Soviet/Russian contexts, thus making antiquity an ‘alter ego’ of Russia. This objective is facilitated – and inspired – by the Russian literary tradition. Since its inception Russian literature has set classical antiquity before itself as a model, imitating its literary forms and emulating its characters. This long-standing analogy between Russia and the classical world underpins Shvarts, Kutik, and Barskova’s evocations of classical antiquity as Russia’s alter ego. The utility of the classical alter ego lies precisely in its alterity: as well as a vehicle for veiled dissidence, as with Aesopian speech, it can be a more extreme, or fun, or ideal reality. Inherent in Shvarts, Kutik, and Barskova’s recourse to classical reception as alter ego is a desire to connect with Europe, from which Russians were palpably divided for much of the twentieth century – the Mandel’shtamian ‘yearning for world culture’. It stems also from their desire to connect with pre-Soviet (classically receptive) Russian literature. The thesis begins with a history of classical reception in Russian literature from Russia’s first contact with the classical world up to the present. Such a history is crucial to understanding contemporary poets’ classical reception, as so many of their references to classical antiquity are refracted through Russian intertexts. The chapters on Shvarts, Kutik, and Barskova examine the entire oeuvre (to date) of each poet, selecting key poems and themes for close analysis. This is conducted alongside the intertexts (quotations from classical texts are given in English only, except where the original language has demonstrably informed reception). As well as literary contexts, historical and personal contexts are considered. Interviews conducted by the author with both living poets (Kutik and Barskova) inform the analysis. This thesis contends that the pervasive classical reception evident in Russian poetry from 1953 to the present responds to the series of ontological crises Russia was precipitated into by the upheavals of the twentieth century. With the loosening of Socialist Realism’s control over literature after Stalin, Russian poets resume Russia’s poetic tradition of using classical antiquity as an alter ego, both to heighten portrayals of Russia, and to imagine another, alternate, Russia.

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Books on the topic "Classical reception"

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Gillespie, Stuart. English Translation and Classical Reception. Oxford, UK: Wiley-Blackwell, 2011. http://dx.doi.org/10.1002/9781444396508.

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Britain), Classical Association (Great, ed. Reception studies. Oxford: Published for the Classical Association by Oxford University Press, 2003.

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Classical literary careers and their reception. Cambridge: Cambridge University Press, 2010.

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Hardie, Philip, and Helen Moore, eds. Classical Literary Careers and their Reception. Cambridge: Cambridge University Press, 2009. http://dx.doi.org/10.1017/cbo9780511778872.

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1972-, Adamson Peter, and Warburg Institute, eds. Classical Arabic philosophy: Sources and reception. London: Warburg Institute, 2007.

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C, Kurtz Donna, ed. Reception of classical art: An introduction. Oxford, England: Archaeopress, 2004.

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Reception and the classics (2007 : Yale University), ed. Reception and the classics. Cambridge: Cambridge University Press, 2011.

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Robert, DeMaria, and Brown Robert D. 1950-, eds. Classical literature and its reception: An anthology. Malden, MA: Blackwell, 2007.

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Charles, Martindale, and Thomas Richard F. 1950-, eds. Classics and the uses of reception. Malden, MA: Blackwell Pub., 2006.

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Zajko, Vanda, and Helena Hoyle, eds. A Handbook to the Reception of Classical Mythology. Hoboken, NJ, USA: John Wiley & Sons, Inc., 2017. http://dx.doi.org/10.1002/9781119072034.

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Book chapters on the topic "Classical reception"

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Martindale, Charles. "Reception." In A Companion to the Classical Tradition, 295–311. Oxford, UK: Blackwell Publishing Ltd, 2007. http://dx.doi.org/10.1002/9780470996775.ch21.

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Mack, Peter. "How Did Renaissance Rhetoric Transform the Classical Tradition?" In Beyond Reception, edited by Patrick Baker, Johannes Helmrath, and Craig Kallendorf, 59–70. Berlin, Boston: De Gruyter, 2019. http://dx.doi.org/10.1515/9783110638776-005.

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Jovanović, Neven. "Classical Reception in Croatia." In A Handbook to Classical Reception in Eastern and Central Europe, 13–20. Hoboken, NJ, USA: John Wiley & Sons, Inc., 2017. http://dx.doi.org/10.1002/9781118832813.ch1.

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Dutsch, Dorota. "Classical Reception in Poland." In A Handbook to Classical Reception in Eastern and Central Europe, 159–65. Hoboken, NJ, USA: John Wiley & Sons, Inc., 2017. http://dx.doi.org/10.1002/9781118832813.ch14.

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Kiss, Farkas Gábor. "Classical Reception in Hungary." In A Handbook to Classical Reception in Eastern and Central Europe, 223–32. Hoboken, NJ, USA: John Wiley & Sons, Inc., 2017. http://dx.doi.org/10.1002/9781118832813.ch19.

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Ardevan, Radu, Florin Berindeanu, and Ioan Piso. "Classical Reception in Romania." In A Handbook to Classical Reception in Eastern and Central Europe, 277–86. Hoboken, NJ, USA: John Wiley & Sons, Inc., 2017. http://dx.doi.org/10.1002/9781118832813.ch23.

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Sirakova, Yoana. "Classical Reception in Bulgaria." In A Handbook to Classical Reception in Eastern and Central Europe, 387–95. Hoboken, NJ, USA: John Wiley & Sons, Inc., 2017. http://dx.doi.org/10.1002/9781118832813.ch32.

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Kalb, Judith E. "Classical Reception in Russia." In A Handbook to Classical Reception in Eastern and Central Europe, 449–56. Hoboken, NJ, USA: John Wiley & Sons, Inc., 2017. http://dx.doi.org/10.1002/9781118832813.ch37.

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Gurchiani, Ketevan. "Classical Reception in Georgia." In A Handbook to Classical Reception in Eastern and Central Europe, 541–47. Hoboken, NJ, USA: John Wiley & Sons, Inc., 2017. http://dx.doi.org/10.1002/9781118832813.ch45.

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Marinčič, Marko. "Classical Reception in Slovenia." In A Handbook to Classical Reception in Eastern and Central Europe, 67–73. Hoboken, NJ, USA: John Wiley & Sons, Inc., 2017. http://dx.doi.org/10.1002/9781118832813.ch6.

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Conference papers on the topic "Classical reception"

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Khabibullina, Alsu Z., Elvira F. Nagumanova, and Oksana Y. Amurskaya. "Russian Classical Literature in Multi-ethnic Environment: The Issues of Reception and Methodology of Teaching." In 2nd International Forum on Teacher Education. Cognitive-crcs, 2016. http://dx.doi.org/10.15405/epsbs.2016.07.13.

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Ma, Sai. "On the Translation of the Image in the Classical Chinese Poetry Based on the Reception Theory." In International Conference on Arts, Humanity and Economics, Management (ICAHEM 2019). Paris, France: Atlantis Press, 2020. http://dx.doi.org/10.2991/assehr.k.200328.003.

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Albakova, F. "CONDITIONAL TOPOSES OF THE DIALOGUE OF AESTHETIC MODELS." In Aesthetics and Hermeneutics. LCC MAKS Press, 2022. http://dx.doi.org/10.29003/m2568.978-5-317-06726-7/154-156.

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The problem of the dialogue of aesthetic models has become especially relevant in the XX-XXI centuries. The blurring of the classical canons of the aesthetic: harmony, beautiful, sensual reflection of reality created the prerequisites for the emergence of modern aesthetics,in the focus of which were not the reception of the real, but the existential world of man in the variety of his experiences and perceptions of the surrounding reality and himself. The habitual dimensions of the aesthetic categories of the beautiful, the ugly, the significant began to be viewed in the free dynamics of the signified and signifier. The movement towards the objectification of “hidden reality”, suppressed meanings, emotions, images, colors, sounds begins in postmodernism. Not the static nature of any tradition, its desire to continue, relatively speaking, creates transitional aesthetic models, each of which has independent explanatory capabilities of the aesthetic.

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Vučković, Dijana Lj. "RECEPCIJA PRIČE SA ENORMATIVNOM RODNOM KARAKTERIZACIJOM LIKOVA OD STRANE UČENIKA PETOG RAZREDA." In KNjIŽEVNOST ZA DECU U NAUCI I NASTAVI. University of Kragujevac, Faculty of Education in Jagodina, 2022. http://dx.doi.org/10.46793/kdnn21.141v.

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The aim of this research was to examine fifth-grade students’ reactions to a fairy tale which contains a non-normative gender characterization, entitled Cinderella Liberator by Rebecca Solnit. The research is based on a whole series of similar qualitative research studies that have been conducted in different parts of the world since 1980s. The research was inspired by the feminist movement, especially Marcia Lieberman, who drew attention to classical fairy tales as a very important factor in preserving the normative gender key (Lieberman 1972). As a result, pure feminist fairy tales have been written, stories in which independent and stroThe researchers have used these stories to test whether children accept non-normative gender discourse. Their studies have shown that resistance to alternatives increases with children’s age, that boys are more conservative while girls are more open to new ideas. Furthermore, the studies have shown that even a non-sexist and non-normative school curriculum can not encourage children to use gender equality discourse. The deconstruction of classical stories was highlighted as a very important factor. In order to investigate how ten-year-olds in Montenegro react to an alternative story, we conducted a survey with a total of 52 students from two urban schools. The students’ task was to read the story at home, and they were given a printed illustrated version of the text along with research questions. Having read the story, the students participated in focus group discussions. They were divided into six focus groups: two focus groups were made of girls, two other were made of boys, and the remaining two groups were mixed. Focus group interviews took approximately one hour, and the main goal of the interview was to determine how students reacted to atypical gender roles in the fairy tale they had read. The results of the research were grouped into three themes: whether children preferred the classic story or the new one; children’s attitude towards the relationship of the protagonist and the antagonist in both stories; children’s attitude towards the ending of the story. More than half of the respondents (32 students) pointed out that they preferred the new version because it differed from classic fairy tales, had more events and it was more interesting. Twenty students (15 male and 5 female) remained absolutely committed to the classic version of the text. The relationship between the protagonist and the antagonists was correctly understood by the students – there are no negative characters in the new version and all the characters eventually become friends. Most of the students liked the end of the story, but some of them thought that the story should have had a typical fairy tale happy ending. It can be concluded that in order to provide gender equality discourse among students it is necessary: to include alternative stories in the curriculum, to apply methods based on literary reception theory and to continuously train teachers to deconstruct classical texts and encourage children to critically evaluate gender equality discourse.ng heroines occurred (Zipes 1986).

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Munteanu, Dan, and Nicoleta Munteanu. "COMPARISON BETWEEN ASSISTED TRAINING AND CLASSICAL TRAINING IN NONFORMAL LEARNING BASED ON AUTOMATIC ATTENTION MEASUREMENT USING A NEUROFEEDBACK DEVICE." In eLSE 2019. Carol I National Defence University Publishing House, 2019. http://dx.doi.org/10.12753/2066-026x-19-041.

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The non-formal education consists in the expression of personal interests through the voluntary participation of the young person in activities that are of interest or attract him directly in order either to spend free time in a constructive manner, or to develop personality or to grasp special talents in - an institutionalized framework. Attention is the process that ensures the active orientation of the body to the message selection, the anticipatory reception and executory adjustment, as well as the intermittent focusing. In general, in the educational instructive process, attention is monitored by direct observation of students. A neurofeedback device (mini-electroencephalograph) has been used in our study to measure attention, a Neurosky device called MindWave Mobile 2 designed to record the electrical impulses emanating from different brain areas (areas G for ground and A1/FP1 of the 1020 system - on standardized placement of electrodes on the head for EEG measurements). With the help of the device and its related software, the level of attention has been recorded from several students over multiple lessons for Logic Games subject, first using a classical teaching method, and then using predominantly didactic play, the transmission of learning contents in interdisciplinary ways through computer-assisted instruction or using musical background. The MindWave Mobile 2 headset connects wireless to computer through Bluetooth and, using the built-in electrode, raw EEG power spectrum is analyzed and an integer value per second in interval 0 and 100 is delivered for attention. Distraction, lack of focus, or anxiety can reduce the level attention. To facilitate further input data analysis, we considered the following reference intervals: - under 40 = lack of concentration; - between 40-60 = diffuse attention; - between 60-80 = state of concentration; - between 80-100 = state of maximum concentration. To complete the experiment, we counted, analyzed, and compared the total number of minutes with different levels of attention within each lesson type - classical and computer-assisted instruction - per student, and the resulted data was illustrated in a graph. As a result, it was observed that the average level of attention was increased on the use of assisted training. Through this device, the teacher will know exactly what each student's intellectual effort curve is, when, how, and how much to intervene to resuscitate students' interest in the lesson.

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Alves da Silva, Cristiane, and Mirtes Marins de Oliveira. "The exhibition design of a House Museum: the Dining Room as a case study." In LINK 2021. Tuwhera Open Access, 2021. http://dx.doi.org/10.24135/link2021.v2i1.104.

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The exhibition space of a Collector's House Museum, the specific case of the Ema Klabin House Museum (HMEK), offers the field of exhibition design a unique place for research due to its nature, which moves from the private to the public and presents artifacts that allow entering the biography of objects and understanding them from a material culture perspective. The present research, still in progress, has as a case study, the environment of the Dining Room at HMEK, which evokes, more than any other room, domesticity and the memory of home while at the same time convoking the experience of the museum space. The research proposes the centrality of the Dining Room both in the practices of the former residence and in the discursive elaboration of the current museum. In this context and in the proposal of this research, the study of the Dining Room, its materialities, uses and spatial organization in both historical moments is an exemplary case for the implementation of research in a house museum, serving its study, based on the indicated variables, to highlight possibilities in this type of institution based on its physicality. The former residence of collector, businesswoman and patron Ema Gordon Klabin houses a multicultural collection that encompasses visual arts, ethnographic objects, books, furniture and decorative arts, exhibited in preserved environments from a house register with exhibition design that highlights the practices of the house, collector and building of modernized classical architecture. It is considered that artifacts are memory supports, vectors capable of preserving or reviving them, provoking relationships between what has been experienced and the situations of the present time. The Dining Room, used for diplomatic and social purposes, is a space measuring 4.80m X 5.30m and connects to the social rooms of the house with a large glass door accessing the external patio, environment with tropical plants and an Italian fountain. It is accessed through a gallery - a must-see for visitors to the house and now, to the museum - and the living room. On the opposite wall, a camouflaged door accesses the kitchen and service areas – currently the museum's reception area – where the French service was carried out. Currently, the Dining Room is organized in accordance with photographs and other historical records that attest to its use before its change to museum status. It exhibits documents and objects that attest to the memory of the uses and customs of this space, for example, the Reception Book, in which the hostess described each event, her guests and the planning of the reception. The research proposes an understanding of the cultural trajectory of objects and the implication of design in the activation of private memories of a domestic environment that, by becoming a museological space, provokes collective memories through its exhibition design, investigating the application of design to address the feedback between experience and history.

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Pigaleva, A. V. "THE ENGLISH-LANGUAGE READER’S RECEPTION OF THE STORY «THE BLIZZARD» BY V. SOROKIN." In ACTUAL PROBLEMS OF LINGUISTICS AND LITERARY STUDIES. TSU Press, 2022. http://dx.doi.org/10.17223/978-5-907572-04-1-2022-102.

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The article examines the English reader's reception of Vladimir Sorokin's story «The Blizzard» in English translation by J. Gambrell (1954–2020). The analysis of the reader's reception allows to conclude that Sorokin is perceived by the English speaking readership as a key modern Russian writer, while the image of the deformed Russian classics is only partially decoded.

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Colopy, Andrew. "(Digital) Design-Build Education." In 2019 ACSA Teachers Conference. ACSA Press, 2019. http://dx.doi.org/10.35483/acsa.teach.2019.25.

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Architectural education is often held up as an exemplar of project-based learning. Perhaps no discipline devotes as much curricular time to the development of a hypothetical project as is found in the design studio model prevalent in US architecture schools. Whether the emphasis is placed on more ‘classical’ design skills—be they typological, tectonic, or aesthetic—or on more ‘socio-political or eco-cultural aims,’ studios generally include the skills and values we deem instrumental to practice.1 The vast majority of such studios, therefore, emphasize the production of drawings, images and models of buildings, i.e., representation.2 This is not altogether surprising, as these are, by definition, the instruments of p ractice.3 But the emphasis on drawings and models also reflects the comfortable and now long-held disciplinary position that demarcates representation as the distinct privilege and fundamental role of the architect in the built environment. That position, however, continues to pose three fundamental and pedagogical challenges for the discipline. First, architectural education—to the degree that it attempts both to simulate and define practice—struggles to model the kind of feedback that occurs only during construction which can serve as an important check on the fidelity and efficacy of representation in its instrumental mode. Consequently, design research undertaken in this context may also tend to privilege instrumentation (representation) over effect (building), reliant on the conventions of construction or outside expertise for technical knowledge. This cycle further distances the process of building from our disciplinary domain, limiting our capacity to effect innovation in the built world.4 Second, and in quite similar fashion, the design studio struggles to provide the kind of social perspective and public reception, i.e., subjective political constraints, that are integral to the act of building. Instead, we approximate such constraints with a raft of disciplinary experts—faculty and visiting critics—whose priorities and interests seldom reflect the broad constituency of the built environment. The third challenge, and a quite different one, is that the distinction between representation and construction is collapsing as a result of technological change. In general terms, drawing is giving way to modeling, representation giving way to simulation. Drawings are increasingly vestigial outputs from higher-order organizations of information. Representation, yes, but a subordinate mode that remains open to modification, increasingly intelligent in order to account for direct translation into material conditions, be they buildings or budgets.

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tan, yanshan, zhiming Chen, zhuo Zhang, and ming Li. "Improve EN model of simple cell combined with non-classical receptive field." In Third International Conference on Image, Video Processing and Artificial Intelligence, edited by Ruidan Su. SPIE, 2020. http://dx.doi.org/10.1117/12.2580981.

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Nematzadeh, Nasim, and David M. W. Powers. "Prediction of Dashed Café Wall illusion by the Classical Receptive Field Model." In 2020 International Conference on Electrical, Communication, and Computer Engineering (ICECCE). IEEE, 2020. http://dx.doi.org/10.1109/icecce49384.2020.9179479.

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Reports on the topic "Classical reception"

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Nordeen, Steven. Classical and Nonclassical Estrogen Receptor Action on Chromatin Templates. Fort Belvoir, VA: Defense Technical Information Center, June 2000. http://dx.doi.org/10.21236/ada382501.

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