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Journal articles on the topic 'Classical reception studies'

Author: Grafiati

Published: 4 June 2021

Last updated: 11 March 2023

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1

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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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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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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4

Zhang, Yue. "Teaching Classical Chinese Poetry through Reception Studies." ASIANetwork Exchange: A Journal for Asian Studies in the Liberal Arts 26, no. 1 (2019): 75–95. http://dx.doi.org/10.16995/ane.241.

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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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Greenwood, Emily. "Reception Studies: The Cultural Mobility of Classics." Daedalus 145, no. 2 (April 2016): 41–49. http://dx.doi.org/10.1162/daed_a_00374.

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In spite of connotations of classics and the classical as an established tradition based around a stable canon, Greek and Roman classical antiquity has never been a fixed object of study. It has changed as our knowledge of ancient Greece and Rome has grown and shifted, and as a function of history, intellectual movements, and taste. Classicists have turned to classical reception studies in an attempt to chart some of the different encounters that various historical audiences have had with Greek and Roman classics, and this wave of research poses interdisciplinary questions about the relation of Greek and Roman classics to world literatures and cultures. The emphasis on classical reception studies offers fresh ways of thinking about the cultural mobility of the classics without appealing to discredited, old-fashioned notions of “timeless importance” or “universal value.” This debate is explored here via a Malawian reception of Sophocles's Antigone.

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Туренко, В. "Classical reception studies: від філософських текстів до практики." Філософська думка, no. 2 (2020): 37–45.

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8

Grzelak-Krzymianowska, Adriana. "The Role of Reception Studies in Classical Education." International Journal of Humanities Education 13, no. 2 (2015): 29–35. http://dx.doi.org/10.18848/2327-0063/cgp/v13i02/43832.

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9

Turenko, Vitalii. "Classical reception studies: from philosophical texts to applied Classics." Filosofska dumka (Philosophical Thought) -, no. 2 (June 23, 2020): 37–45. http://dx.doi.org/10.15407/fd2020.02.037.

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Pormann, Peter E. "Greek Thought, Modern Arabic Culture: Classical Receptions since the Nahḍa." Intellectual History of the Islamicate World 3, no. 1-2 (2015): 291–315. http://dx.doi.org/10.1163/2212943x-00301011.

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This article surveys the growing, yet largely understudied field of classical receptions in the modern Arab world, with a specific focus on Egypt and the Levant. After giving a short account of the state of the field and reviewing a small number of previous studies, the article discusses how classical studies as a discipline fared in Egypt; and how this discipline informed modern debates about religous identity, and notably views on the textual history of the Qurʾān. It then turns to three literary genres, epic poetry, drama, and lyrical poetry, and explores the reception of classical literature and myth in each of them. It concludes with an appeal to study this reception phenomenon on a much broader scale.

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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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Nooter, Sarah. "Reception Studies and Cultural Reinvention in Aristophanes and Tawfiq Al-Hakim." Ramus 42, no. 1-2 (2013): 138–61. http://dx.doi.org/10.1017/s0048671x00000114.

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We look on the totality of the past as dreams, certainly interesting ones, and regard only the latest state of science as true, and that only provisionally so. This is culture.Paul Veyne, Did the Greeks Believe in Their Myths?Reception studies in classics live a complicated scholarly life. On one hand, a healthy collection of new monographs appears on the market every year that shows the strength of this subfield, including such recent additions as Gonda Van Steen's Theatre of the Condemned: Classical Tragedy on Greek Prison Islands and Simon Goldhil's work on the Victorian reception of classics called Victorian Culture and Classical Antiquity: Art, Opera, Fiction and the Proclamation of Modernity. Collections of essays that contribute to the field are also copiously produced. Thus two scholars could lately declare that ‘[n]o sub-field in the discipline of Classics has experienced such growth, in both quantitative and qualitative terms, over the past fifteen years or so as the study of reception of classical material’. Charles Martindale, credited with throwing down the receptive gauntlet some twenty years ago, recently wrote an essay on the flourishing state of this subfield within classics, reporting that reception studies have proven classics to be not ‘something fixed, whose boundaries can be shown.’ He adds the following:Many classicists (though by no means the majority) are in consequence reasonably happy, if only to keep the discipline alive in some form, to work with an enlarged sense of what classics might be, no longer confined to the study of classical antiquity ‘in itself’—so that classics can include writing about Paradise Lost, or the mythological poesie of Titian, or the film Gladiator, or the iconography of fascism.

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Orrells, Daniel. "GREEK LOVE, ORIENTALISM AND RACE: INTERSECTIONS IN CLASSICAL RECEPTION." Cambridge Classical Journal 58 (November 26, 2012): 194–230. http://dx.doi.org/10.1017/s1750270512000073.

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Classics has been characterised as both a radical and a conservative discipline. Classical reception studies has enjoyed exploring this paradox: antiquity has provided an erotic example for modern homosexual counter-culture as well as a model for running exploitative empires. This article brings these aspects of reception studies together, to examine how the Victorian homosexual reception of the ancient Greeks was framed and worked out in a particular imperial context at the end of the nineteenth century.

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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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Livingstone, Niall, and Gideon Nisbet. "V Ancient Epigram in Reception." New Surveys in the Classics 38 (2008): 140–62. http://dx.doi.org/10.1017/s0017383509990234.

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‘Reception’, the study of how the present recognizes and constructs its past, has developed from sober origins (the literary hermeneutics of Gadamer and Jauss) into a hot topic in contemporary classical studies. This rapidly changing ? eld resists stable definition of methodology or subject matter, and elicits firebrand rhetoric. Some practitioners are explicitly confrontational, exposing the historically recent ‘uses and abuses of antiquity’ perpetrated in the service of reactionary ideologies, and critiquing the disciplinary sleights of hand by which classics itself has come into being. Others use reception terminology to repackage Nachleben, the post-classical afterlives of ancient texts, or a broader ‘classical tradition’: the conventional study (blurring at times into optimistic hagiography) of the enduring influence of antiquity in literature and the arts. Recent trends are thoughtfully surveyed in Lorna Hardwick's New Survey, Reception Studies (Hardwick 2003).

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Asna, Lathifatul, and Nasihun Amin. "Hermeneutics of Reception by Hans Robert Jauss: An Alternative Approach Toward Quranic Studies." International Journal Ihya' 'Ulum al-Din 24, no. 2 (December 28, 2022): 160–71. http://dx.doi.org/10.21580/ihya.24.2.13092.

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This research attempts to offer hermeneutics of reception by Hans Robert Jauss as an alternative to understanding the Quran. Starting from the concern of some contemporary Islamic thinkers about the limitations of the classical Quran in overcoming human problems that are always dynamic, hermeneutics has become a much-demanded approach. In addition, the methodological principle of classical interpretation tends to forget the role of human participation in interpreting the Quran. Nevertheless, the practice of the reception approach has stagnated in the study of the living Quran, which only performs a simple analysis of a tradition into three reception typologies: exegesis, functional, and aesthetic, without any more profound critique. This article aims to describe Hans Robert Jauss’ hermeneutics of reception as a relevant offer to fill the void of Quranic studies from the reader's perspective. For this reason, this article is compiled using qualitative methods based on literature studies so that essential aspects that need to be considered as material for hermeneutics of reception analysis can be well elaborated. There are three crucial aspects to the hermeneutics of reception; the Horizon of expectations, the three levels of reading, and the validity of the aesthetic experience.

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이경희. "Case Studies of Reception History: Constructing Process of Classical Music Public." 音.樂.學 ll, no. 16 (December 2008): 53–80. http://dx.doi.org/10.34303/mscol.2008..16.003.

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Hartman, Joshua J. "Ramón Betances and Classical Reception in Puerto Rico." International Journal of the Classical Tradition 27, no. 1 (February 12, 2019): 63–88. http://dx.doi.org/10.1007/s12138-018-0496-4.

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19

Smith, Erin A. "Who Didn’t Do It?" Reception: Texts, Readers, Audiences, History 14 (July 1, 2022): 22–41. http://dx.doi.org/10.5325/reception.14.1.0022.

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ABSTRACT David Grann’s Killers of the Flower Moon is a generic hybrid: literary journalism, true crime tale of the Wild West, and whodunit. I argue that the activation of different sets of reader expectations for these genres gives it an extraordinarily powerful political impact. Based on reviews and reader responses on Amazon and Goodreads and on the genre characteristics of the narrative itself, I make the case that Grann satisfies readers’ expectations for formula Westerns and classical detective stories in the first two parts (i.e., solving the crime and arresting the bad guy), only to undermine them in the final section, in which just about all the white citizens in the county emerge as complicit with the crimes. Further, Killers of the Flower Moon–like many true-crime stories–offers a feminist critique of the romance plot by unveiling how happily-ever-after marriages can turn violent and abusive for women.

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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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Hiscock, Matthew. "Reception Theory, New Humanism, and T. S. Eliot." Classical Receptions Journal 12, no. 3 (April 14, 2020): 323–39. http://dx.doi.org/10.1093/crj/clz033.

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Abstract T. S. Eliot has been a major, if challenging, figure for students of reception and the Classical Tradition, and is implicated in an important debate on historicist versus aestheticist models of reception study. This article challenges assumptions about his position on, and practice of, reception. The politics implicit in theorists’ references to Eliot is teased out, and the position he took in response to inter-war New Humanism is shown to be predominantly historicist. An analysis of The Family Reunion (1939) then suggests that the Modernist-poetic approach he therefore took to the Oresteia broke so decisively with existing models of reception as to have called the fact of reception into question. The play is also shown to build on H.D.’s experiments in translation and to respond to Aeschylean receptions by Robinson Jeffers and Eugene O’Neill. It is further suggested that it anticipates several aspects of recent Reception Theory.

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Bridges, Emma, and Joanna Paul. "Reception." Greece and Rome 65, no. 2 (September 17, 2018): 277–82. http://dx.doi.org/10.1017/s0017383518000232.

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The cinematic and televisual reception of the ancient world remains one of the most active strands of classical reception study, so a new addition to the Wiley-Blackwell Companions series focusing on Ancient Greece and Rome on Screen is sure to be of use to students and scholars alike (especially given how often ‘Classics and Film’ courses are offered as a reception component of an undergraduate Classical Studies programme). The editor, Arthur Pomeroy, himself a respected and prolific ‘early adopter’ of this branch of scholarship, has assembled many of the leading names in cinematic reception studies (including Maria Wyke, Pantelis Michelakis, Alastair Blanshard, and Monica Cyrino), alongside a good number of more junior colleagues, resulting in a varied and rewarding compendium that will provide a useful accompaniment to more detailed explorations of this field. (Some, though not all, chapters offer further reading suggestions, and most are pitched at an accessible level.) The twenty-three contributions span the ‘canonical’ and already widely treated aspects of screen reception, from 1950s Hollywood epics to adaptations of Greek tragedy, as well as ranging across material which has only more recently began to attract the attention it deserves, such as TV documentary, or adaptations for younger audiences. The volume is not as easily navigable as it might be, with the four-part division of the chapters sometimes seeming a little arbitrary. (So, for example, a chapter which discusses ‘The Return of the Genre’ in films like Gladiator appears under the heading ‘Comedy, Drama, and Adaptation’, when it might have been better placed in the first section, on ‘The Development of the Depiction of Ancient Greece and Rome on Screen’.) But rich discussions are not hard to find, especially in those chapters which show how cinematic receptions are indicators of more widely felt concerns relating to our reception of the past, as in Blanshard's assessment of ‘High Art and Low Art Expectations: Ancient Greece in Film and Popular Culture’. Michelakis’ chapter on the early days of cinema is also a valuable distillation of some of his recent work on silent film, crisply and concisely setting out the plurality of approaches that must inform our understanding of the cinematic medium (for example, spectatorship, colour, and relationships to other media). More broadly, the collection makes a solid and welcome attempt to put this pluralism into practice, with Pomeroy stressing ‘the complexity of understanding film’ early in his introduction (3). Chapters focusing on music, and costumes, for example, allow us to see productions ‘in the round’, a panoptical perspective which is still too readily avoided by much classical reception scholarship. (It is also good to see at least one chapter which ranges beyond screen media in the West.) Other vital areas of film and TV studies could arguably have received more attention. Some contributors touch on the importance of assessing audience receptions of these films, or the impact of marketing and other industrial considerations (such as screening practices), but more chapters dedicated to these approaches might have been a more sustained reminder to readers of just how widely screen scholarship can (and often needs to) range. To that end, a particularly significant chapter in the book – one of only 3 by non-Classicists – is Harriet Margolis’ account of how film historians might evaluate ancient world film. Newcomers to this field should pay particular attention to this, and to Pomeroy's introductory comments on how we should regard film as much more than a quasi-literary medium.

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Pohonchenkova, Olena. "Reception studies: a new Classics? On Greek and Roman Classics in the British Struggle for Social Reform (Ed. Edith Hall, Henry Stead: Bloomsbury Academic, 2015)." Sententiae 36, no. 2 (December 16, 2017): 133–45. http://dx.doi.org/10.22240/sent36.02.133.

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Bridges, Emma, and Henry Stead. "Reception." Greece and Rome 68, no. 2 (September 8, 2021): 348–52. http://dx.doi.org/10.1017/s0017383521000140.

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From Oxford University Press's ‘Classical Presences’ series, Carol Dougherty's Travel and Home in Homer's Odyssey and Contemporary Literature places Homer's Odyssey in dialogue with five twentieth- and twenty-first-century novels which all deal in some way with the ideas of home or travel. The author focuses on novels which, on the whole, do not respond overtly to the Odyssey, but which instead share key themes – such as transience, reunion, nostalgia, or family relationships – with the Homeric poem. The conversations which she initiates between the ancient epic and the modern novels inspire us to rethink previously held assumptions about the Odyssey. For example, Dougherty's exploration of Rebecca West's The Return of the Soldier (1918), in which a veteran returns from the First World War with no memory of his wife, prompts her reader to consider Odysseus’ stay with Calypso as ‘a kind of nostalgic amnesia, a necessary break that enables rather than an obstacle that impedes his return’ (111). As ‘an experiment in improvisatory criticism’ (16), this book yields rich rewards for the reader who is already familiar with the Odyssey, as well as for those whose point of entry is one of the five modern novels. The framework applied – in which each chapter presents a reading of a relevant section of the Odyssey before setting out an analysis of the contemporary novel with which it is paired – is perhaps more familiar from comparative literary studies than from classical reception scholarship, yet Dougherty's approach is one which stimulates fresh thought about how we as readers (re-)interpret and ‘receive’ ancient texts based on the contexts in which we encounter them.

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Buda, Agata. "The reception of antiquity in nineteenth-century British literature – an attempt at theoretical synthesis." Journal of Language and Cultural Education 6, no. 2 (May 1, 2018): 144–60. http://dx.doi.org/10.2478/jolace-2018-0021.

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Abstract The aim of the paper is to make an attempt of theoretical synthesis connected with the idea of reception studies. It presents major aspects which are crucial for understanding the reception studies, especially for the reception of antiquity in Victorian literature (for instance chosen critical approaches to literature, contemporary tools for conducting the research like intertextuality). The paper also presents definitions of classics, classical tradition and reception and tries to explain why Victorian times and literature are a perfect research material to examine the reception of antiquity.

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Ward, Marchella. "Assemblage theory and the uses of classical reception: the case of Aristotle Knowsley’s Oedipus." Classical Receptions Journal 11, no. 4 (September 28, 2019): 508–23. http://dx.doi.org/10.1093/crj/clz018.

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Abstract The metaphors that we use to describe the relationships between texts often carry within them limitations on the relationships that they figure. Classical reception is perhaps the most dominant of these metaphors, structuring the way readers understand the relationships between texts. This is particularly problematic in the early modern period where it is often difficult to account for the relationships between texts using traditional models of influence (a problem that is further amplified in performance). This article uses the example of an Oedipus play written by Aristotle Knowsley sometime between 1596 and 1603 to ask whether thinking about what we more often call ‘receiving texts’ as ‘assemblages’ could offer the study of classical reception a way to confront the restrictions placed upon it by the linearity of literary history. Knowsley’s text — when it is discussed at all — is usually considered to be an amalgamation of Neville’s translation of Seneca’s Oedipus (1563) and Newton’s Thebais (1581), but this restrictive reading, based on assumptions latent in the metaphor ‘classical reception’, excludes a number of texts that participate in productive relationships with the play.

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Watanabe, Akihiko. "Apuleius in Meiji Japan: The Golden Ass as an Educational and Reformatory Novel." Ramus 38, no. 1 (2009): 123–44. http://dx.doi.org/10.1017/s0048671x00000679.

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This paper will consider the 1887 Japanese translation of Apuleius'Golden Assfrom the angle of classical reception. Although this was the first translation of Greco-Roman literature to appear in modern Japanese, it has, at least in print, never been examined by a classicist before. With the rising interest in the study of classical receptions, including those taking place outside the West, the time may be ripe for a serious look at this early Meiji translation by Morita Shiken—its content, source, intellectual climate surrounding its production, and its own subsequent reception in Japan.The ancient novel, as Whitmarsh observes, is a genre uniquely suited for reception studies, especially of the more usual kind that is concerned with the modern period. Although a late and ignoble genre within antiquity, despite its often considerable linguistic and literary artistry, it came to enjoy relatively wide cultural recognition and circulation in the early modern period, before being outshone by the modern Western novel and sinking back into relative obscurity again both in the public and in academia—and its literary character is still very much controversial, to the extent that it is debated whether the ancient genre may justifiably be called ‘novel’. The history of the reception of the novel therefore may show more intriguing twists and contradictions than that of such established and uncontroversially ‘great’ genres as epic or tragedy.

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Hardwick, Lorna. "The reception of classical texts research project, the Open University, UK." International Journal of the Classical Tradition 12, no. 3 (December 2006): 392. http://dx.doi.org/10.1007/s12138-006-0004-0.

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Cormier, Raymond. "Christine Walde: The Reception of Classical Literature. Brill’s New Pauly Supplements." International Journal of the Classical Tradition 20, no. 4 (September 20, 2013): 159–61. http://dx.doi.org/10.1007/s12138-013-0331-x.

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Rose, Marice. "‘Our Empire is Your Empire’: Classical Reception at Caesars Atlantic City." International Journal of the Classical Tradition 21, no. 2 (April 6, 2014): 159–79. http://dx.doi.org/10.1007/s12138-014-0342-2.

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Hollis, Dawn L. "Constructing the Classical Past: the Role of Landscape in Christopher Wordsworth’s Greece." Classical Receptions Journal 14, no. 2 (January 7, 2022): 159–77. http://dx.doi.org/10.1093/crj/clab015.

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Abstract This article examines the works of Christopher Wordsworth (1807–85), who has hitherto been neglected as an important and intriguing figure in the history of travel writing on Greece. His texts, which invite readers to ‘view’ the country from mountain-tops and to imagine its caves and quarries filled with ancient figures, highlight the importance of landscape as a frame for studying classical reception. Wordsworth ‘received’ ancient Greece through its visible, modern landscape in three ways: through a sense of the landscape as a container for memory, through the use of specific landscapes as springboard for ‘flights of fancy’ enabling a vivid engagement with the classical past, and as a tool for better interpreting and understanding the history and literature of the ancient Mediterranean. Christopher Wordsworth constructed a vision of ancient Greece for his readers through his description of the nineteenth-century landscape. As such he offers an important reminder to consider the role played by the embodied experience of space and place in analysing acts of classical reception.

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Lozinskaya, Evgeniia. "AFTER WEINBERG. BOOK REVIEW: THE RECEPTION OF ARISTOTLE’S POETICS IN THE ITALIAN RENAISSANCE AND BEYOND. NEW DIRECTIONS IN CRITICISM / ED. BY BRAZEAU B." RZ-Literaturovedenie, no. 1 (2021): 23–52. http://dx.doi.org/10.31249/lit/2021.01.02.

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The book written by an international team of scholars and edited by B. Brazeau explores literary criticism and reception of Aristotle's «Poetics» in early modern Italy. Revisiting the «intellectual history» of Renaissance poetic studies written by Bernard Weinberg in 1960-s, the contributors find its own place whithin the 2000-years long tradition of translations, commentaries and polemic treatises. The authors apply new methods from book history, translation studies, history of emotions and classical reception to early modern Italian texts, placing them in dialogue with 20th-century literary theory, and thus map out avenues for future study.

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Junkiert, Maciej. "Ancient Revolutions in the Literature of Polish Romanticism." Comparative Critical Studies 15, no. 2 (June 2018): 207–26. http://dx.doi.org/10.3366/ccs.2018.0289.

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This article aims to examine the Polish literary reception of the French Revolution during the period of Romanticism. Its main focus is on how Polish writers displaced their more immediate experiences of revolutionary events onto a backdrop of ‘ancient revolutions’, in which revolution was described indirectly by drawing on classical traditions, particularly the history of ancient Greeks and Romans. As this classical tradition was mediated by key works of German and French thinkers, this European context is crucial for understanding the literary strategies adopted by Polish authors. Three main approaches are visible in the Polish reception, and I will illustrate them using the works of Zygmunt Krasiński (1812–1859), Juliusz Słowacki (1809–1849) and Cyprian Norwid (1821–1883). My comparative study will be restricted to four works: Krasiński's Irydion and Przedświt (Predawn), Słowacki's Agezylausz (Agesilaus) and Norwid's Quidam.

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Platt, Verity. "The Matter of Classical Art History." Daedalus 145, no. 2 (April 2016): 69–78. http://dx.doi.org/10.1162/daed_a_00377.

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Though foundational to the study of art history, Greco-Roman visual culture is often sidelined by the modern, and overshadowed by its own cultural and intellectual reception. Recent scholarship, however, has meticulously unpacked the discipline's formative narratives, while building on archaeological and literary studies in order to locate its objects of analysis more precisely within the dynamic cultural frameworks that produced them, and that were in turn shaped by them. Focusing on a passage from Pliny the Elder's Natural History (arguably the urtext of classical art history), this paper explores the perennial question of how the material stuff of antiquity can be most effectively yoked to the thinking and sensing bodies that inhabited it, arguing that closer attention to ancient engagements with materialism can alert us to models of image-making and viewing that are both conceptually and physically grounded in Greco-Roman practices of production, sense perception, and interpretation.

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Burns, Dylan, and Almut-Barbara Renger. "Introduction." International Journal for the Study of New Religions 8, no. 2 (December 6, 2018): 103–14. http://dx.doi.org/10.1558/ijsnr.37400.

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The myriad and potent effects of Mediterranean antiquity in a diversity of cultural and social contexts constitutes a field of research which for some decades has been known as “(Classical) reception studies.” The two special issues of IJSNR introduced here (and the consolidated book volume which follows) contain the fruits of the 2014 workshop “New Antiquities”, which departed from this scholarly enterprise in examining what we have called “Transformations of Ancient Religion.”

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Johnson, M. "Indigeneity and classical reception in The Voyage of Governor Phillip to Botany Bay." Classical Receptions Journal 6, no. 3 (November 11, 2013): 402–25. http://dx.doi.org/10.1093/crj/clt027.

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Stergiopoulou, Katerina. "E. RICHARDSON (ed.) Classics in Extremis: The Edges of Classical Reception. (Bloomsbury Studies in Classical Reception). London and New York: Bloomsbury Academic, 2019. Pp. xi + 256. ￡85. 9781350017252." Journal of Hellenic Studies 141 (November 2021): 308–10. http://dx.doi.org/10.1017/s007542692100077x.

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Harloe, Katherine. "Classics transformed? Ancient figured vases as a test-case for the preoccupations of Classical Reception Studies." Bulletin of the Institute of Classical Studies 63, no. 1 (June 1, 2020): 138–42. http://dx.doi.org/10.1093/bics/qbaa012.

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Chernoglazov, Dmitry, Grigory Benevich, Arkadi Choufrine, Oksana Goncharko, and Timur Schukin. "The Cambridge Intellectual History of Byzantium, edited by Anthony Kaldellis and Niketas Siniossoglou, 2017." Scrinium 14, no. 1 (September 20, 2018): 475–507. http://dx.doi.org/10.1163/18177565-00141p32.

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Abstract This review article is a collective work of five scholars who have written their reviews and/or responses to the twelve chapters of the recently published Cambridge Intellectual History of Byzantium. These reviews discuss such issues as institutional settings, classical scholarship, rhetoric, political theory, literary criticism, historiography, logic, and philosophy in Byzantium. They also deal with the reception of the Neoplatonic ideas in Byzantium as well as with some individual figures such as Maximos the Confessor and Michael Psellos.

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Nguyen, Kelly. "Phạm Duy Khiêm, classical reception, and colonial subversion in early 20th century Vietnam and France." Classical Receptions Journal 12, no. 3 (May 14, 2020): 340–56. http://dx.doi.org/10.1093/crj/claa003.

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Abstract The tradition of the Vietnamese reception of classical literature has not yet been examined, and this article is the first to venture into this intersection between Classics and Vietnamese studies. In this article, I focus on Phạm Duy Khiêm (1908–74) and his use of Classics to translate and mediate his Vietnamese heritage to his French audience. Phạm lived during a particularly turbulent time in Vietnamese history: he experienced Vietnam as a French protectorate called Annam, he witnessed his compatriots defy French rule and win independence for Vietnam, and he saw the civil war that challenged that new independence. Throughout these changing political contexts, Phạm navigated the politics of polarity that separated the colonizer from the colonized as he struggled to make sense of these supposedly irreconcilable differences between the two, which contested his own intercultural identity. In this article, I argue that Phạm used his classical education and its cultural capital not only to explain Vietnamese culture to his French audience, but also to elevate it as equal, and perhaps even superior, to that of the French and their supposed classical inheritance.

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Monrós-Gaspar, Laura. "A ‘Distinctive’ Map of London: Women, Theatre and the Classics in 1893." Nineteenth Century Theatre and Film 47, no. 1 (February 12, 2020): 26–42. http://dx.doi.org/10.1177/1748372719900453.

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Copious geographies of nineteenth-century London spectacle have been mapped following different scales and criteria. In this article, I invite readers to scrutinise London’s entertainment industry in 1893 focusing on the venues where modern reconfigurations and adaptations of Greek and Roman mythology by women were first staged. Such a map reveals microhistories of the streets, theatres, pleasure gardens and concert halls, where women as creators and agents of the classical revival played an essential role that has generally been forgotten by theatre historians and classical reception studies. As I aim to demonstrate, this new and gendered cartography challenges the notion of a classical repertoire and the boundaries between the popular and the legitimate.

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Egan, Rory B. "Pastoral Palimpsests: Essays in the Reception of Theocritus and Virgil (Rethymnon Classical Studies 3) by Michael Paschalis." Phoenix 63, no. 3-4 (2009): 391–93. http://dx.doi.org/10.1353/phx.2009.0027.

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Hulton, D. "Practice as Research in Drama and Theatre inside and outside academia: the implications for Classical Reception Studies." Classical Receptions Journal 6, no. 2 (April 16, 2014): 338–59. http://dx.doi.org/10.1093/crj/clu002.

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O'Brien, John. "Ecclesiology as Narrative." Ecclesiology 4, no. 2 (2008): 148–65. http://dx.doi.org/10.1163/174413608x308591.

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AbstractBy focusing on how the transmission and reception of ecclesiologies are enshrined in narratives and in the conversation between narratives, this article argues that that there can be a retrieval and a re-articulation of classical ecclesiologies which surpass the mens auctoris of these narratives, leading to a higher synthesis and communion, with important ecumenical implications. The structure of this conversation of ecclesiological narratives is triangular, with narratives emerging from the laity, the theologians and the bishops offering correctives to each other. Each of these narratives can surpass its own hidden rootedness in possible structures of oppression by locating itself in a further triangular hermeneutical space defined by the the preferential option for the excluded, a contemplative search for the designs of God and a search for structures of greater inclusiveness. In this way an adequate ecclesiology may emerge whose temporal distance from classical ecclesiologies provides a potential productive ground of even deeper understanding.

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Kahn, Andrew. "Readings of Imperial Rome from Lomonosov to Pushkin." Slavic Review 52, no. 4 (1993): 745–68. http://dx.doi.org/10.2307/2499651.

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The legacy of ancient writers to western culture since the Renaissance has long been acknowledged as a cornerstone of contemporary humanism. Yet within the vast territory of studies of the classical tradition there remains a large piece of uncharted terrain, and that is Russia, the significance of whose participation in the reception of antiquity has been largely excluded from investigation by foreign scholars and has only recently energized Russian scholars, particularly in the field of medieval studies.

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Stoneman, Richard. "Alexander the Great in the Early Christian Tradition. Classical Reception and Patristic Literature, by Christian Thrue Djurslev." Church History and Religious Culture 100, no. 4 (October 19, 2020): 554–56. http://dx.doi.org/10.1163/18712428-10004002.

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Snider, Alvin. "Stuart Gillespie English Translation and Classical Reception: Towards a New Literary HistoryEnglish Translation and Classical Reception: Towards a New Literary History. Stuart Gillespie. Malden, MA: Wiley-Blackwell, 2011. Pp. ix+208." Modern Philology 112, no. 1 (August 2014): E5—E8. http://dx.doi.org/10.1086/675900.

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Van Noorden, Helen. "“Vergil and Homer opened my Books:” The Sibylline Oracles and the non-Jewish canon." Journal for the Study of the Pseudepigrapha 32, no. 2 (December 2022): 167–86. http://dx.doi.org/10.1177/09518207221115928.

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The hybrid cultural weave of the Sibylline Oracles is one of the most arresting aspects of a collection which preserves Judaeo-Christian compositions in Greek ranging from c. second century BCE to the seventh century CE. Reviewing world history in the form of prophecy, sketching rewards and punishments due at the end of days, and urging ethical behavior, these oracles in Homerizing hexameters combine Classical and Biblical traditions and are attributed to an ancient Sibyl. This article focuses on a distinctive case of repetition within the Sibylline corpus to highlight how the sense of a Classical canon is updated in the Jewish development of this prophetic genre. The passages triggering both intertextual and intratextual investigation ar Sibylline Oracles 3.419–25, which “predicts” that the blind Homer will be the first to open the Sibylline books and copy her tale of Troy, and the far less studied Sibylline Oracles 11.163–71, where phrases about Homer are revised to produce an emphasis on Vergil’s skill as a poet and discretion in concealing the Sibylline writings until his death. Study of these lines in their immediate and wider narrative contexts reveals the Jewish sibyllists exploiting the literary knowledge of Classically-educated readers, first and foremost in order to build up the Sibylline authority, a priority which is developed through both “combative” and “parasitic” stances in relation to canonical authors. Overall, this study offers new information about modes of allusion in Jewish Greek literature and the relationship between the tracks of Homeric and Vergilian reception in cross-cultural contexts.

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Amin, Wahid M. "“From the One, Only One Proceeds”." Oriens 48, no. 1-2 (June 8, 2020): 123–55. http://dx.doi.org/10.1163/18778372-04801005.

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Abstract The separated intellects play a crucial but notoriously controversial role within the Neoplatonic systems of al-Fārābī and Avicenna. While both thinkers provide an array of proofs to support the existence of such immaterial substances, the most enduring of these is based on a metaphysical rule of Avicenna’s metaphysics known as the “rule of one” (qāʿidat al-wāḥid): that from the One, only one proceeds (lā yaṣdur ʿan l-wāḥid illā l-wāḥid). The following paper explores the various ways in which Avicenna defended this principle and traces their reception in the post-classical period, thereby showing how vigorously the question of emanation was debated among scholars of the later medieval period.

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Fernández Zambudio, Josefa. "Roma en la poesía de Ida Vitale: lengua, literatura y civilización." Nova Tellus 38, no. 2 (August 1, 2020): 161–76. http://dx.doi.org/10.19130/iifl.nt.2020.38.2.0007.

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In this paper we focus on significant examples of the dialogue between the uruguayan poet Ida Vitale and the Roman World. We explore her reception of Rome through Latin Language and Roman Literature, Religion, Society, History and Archaeology. These elements are linked to the search of an accurate expression. The lack of studies on Ida Vitale, especially on Classical tradition, and the contextualization in her Poetics justify our contribution itself.

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