To see the other types of publications on this topic, follow the link: Classical reception.
Journal articles on the topic 'Classical reception'
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the top 50 journal articles for your research on the topic 'Classical reception.'
Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.
You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.
Browse journal articles on a wide variety of disciplines and organise your bibliography correctly.
1
Bridges, Emma, and Henry Stead. "Reception." Greece and Rome 67, no. 2 (October 2020): 287–92. http://dx.doi.org/10.1017/s0017383520000145.
Full textAbstract:
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.
2
Easterbrook, Rhiannon. "Reception." Greece and Rome 69, no. 1 (March 7, 2022): 167–71. http://dx.doi.org/10.1017/s0017383521000346.
Full textAbstract:
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.
3
Harloe, Katherine, and Joanna Paul. "Reception." Greece and Rome 63, no. 2 (September 16, 2016): 277–83. http://dx.doi.org/10.1017/s0017383516000152.
Full textAbstract:
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.
4
Paul, Joanna. "Reception." Greece and Rome 64, no. 2 (October 2017): 217–20. http://dx.doi.org/10.1017/s0017383517000146.
Full textAbstract:
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.
5
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.
Full textAbstract:
<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>
6
Paul, Joanna. "Reception." Greece and Rome 61, no. 2 (September 12, 2014): 308–11. http://dx.doi.org/10.1017/s0017383514000151.
Full textAbstract:
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).
7
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.
Full textAbstract:
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.
8
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.
Full text
9
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.
Full text
10
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.
Full textAbstract:
<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>
11
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.
Full textAbstract:
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.
12
Easterbrook, Rhiannon. "Reception." Greece and Rome 69, no. 2 (September 6, 2022): 357–62. http://dx.doi.org/10.1017/s0017383522000146.
Full textAbstract:
This issue sees five volumes from IMAGINES – Classical Receptions in the Visual and Performing Arts. This series, published by Bloomsbury and edited by Filippo Carlà-Uhink and Martin Lindner, developed from a series of conferences starting in 2007, and has so far produced fourteen books, including both edited volumes and monographs. In keeping with the editors’ aims to work from an anti-hierarchal approach to culture, the books under discussion elaborate on a range of media, without distinguishing between ‘high’ and ‘low’ culture.
13
Wentzel, Rocki. "Classical Reception in Edith Wharton’s Late Fiction." Edith Wharton Review 29, no. 1 (April 1, 2013): 20–32. http://dx.doi.org/10.5325/editwharrevi.29.1.0020.
Full text
14
Ellis, Simon P. "Classical Reception Rooms in Romano-British Houses." Britannia 26 (1995): 163. http://dx.doi.org/10.2307/526875.
Full text
15
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.
Full text
16
Mahoney, Anne. "Thornton Wilder, Classical Reception, and American Literature." Thornton Wilder Journal 3, no. 2 (October 2022): 254–59. http://dx.doi.org/10.5325/thorntonwilderj.3.2.0254.
Full text
17
Bridges, Emma, and Henry Stead. "Reception." Greece and Rome 68, no. 2 (September 8, 2021): 348–52. http://dx.doi.org/10.1017/s0017383521000140.
Full textAbstract:
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.
18
Bakogianni, Anastasia. "Classical Reception for All? Performance Reception Pedagogy in the Twenty-First Century." Classical World 112, no. 1 (2018): 615–26. http://dx.doi.org/10.1353/clw.2018.0061.
Full text
19
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.
Full textAbstract:
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.
20
Forde, Shane. "Using classical reception to develop students’ engagement with classical literature in translation." Journal of Classics Teaching 20, no. 39 (2019): 14–23. http://dx.doi.org/10.1017/s2058631019000035.
Full textAbstract:
While observing A-level students at my PP2 school, I noticed that their responses to classical texts largely consisted of the identification of stylistic tropes. The students could identify a text's stylistic features but they struggled to articulate and develop their own personal reactions to the text. They had been well-trained in this sort of ‘feature-spotting’ and therefore their reading experience was narrowly mechanical rather than genuinely exploratory. Every passage they encountered was put through the same analytical process with the unsurprising result that every classical author ended up sounding much the same. This seemed to me to be fundamentally passive way of engaging with literature. I was struck by Muir's contention that ‘the pupil should not be a passive recipient in the study of literature’ (!974, p.515). Hence, I wanted to devise a teaching strategy that would enable my students to be more active in the formulation of a personal response to the text.
21
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.
Full textAbstract:
‘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).
22
Schäfer, Márcio Egídio. "Political Economy and the Question of Freedom: Notes on Hegel and Marx." Resistances. Journal of the Philosophy of History 2, no. 4 (December 30, 2021): e21070. http://dx.doi.org/10.46652/resistances.v2i4.70.
Full textAbstract:
The reception of classical political economy played a prominent role in the development of Hegel’s and Marx's political thought. The purpose of this paper is twofold: firstly, to present the general outlines of the reception of classical political economy in Hegel and Marx; secondly, to evaluate the implications of the reception of classical political economy in the concept of freedom in both philosophers. I argue that the reception of classical political economy, due to different philosophical standpoints, leads Hegel and Marx to develop a different conceptualization of freedom. My main concern was to provide not an exhaustive analysis of the topic but a brief sketch of the implications which different interpretations of political economy have on the question of freedom, indicating, if that should be the case, works that may shed more light on some of the issues addressed throughout the contribution.
23
Bridges, Emma, and Joanna Paul. "Reception." Greece and Rome 65, no. 2 (September 17, 2018): 277–82. http://dx.doi.org/10.1017/s0017383518000232.
Full textAbstract:
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.
24
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.
Full textAbstract:
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.
25
Туренко, В. "Classical reception studies: від філософських текстів до практики." Філософська думка, no. 2 (2020): 37–45.
Find full text
26
Barbosa, Tereza Vírginia Ribeiro, and Maria de Fátima Souza e. Silva. "Nuntius Antiquus: inaugurating Classical Reception in Latin America." Nuntius Antiquus 13, no. 1 (August 31, 2017): 15–22. http://dx.doi.org/10.17851/1983-3636.13.1.15-22.
Full text
27
Barbosa, Tereza Vírginia Ribeiro, and Maria de Fátima Souza e. Silva. "Nuntius Antiquus: inaugurating Classical Reception in Latin America." Nuntius Antiquus 13, no. 1 (August 31, 2017): 7–13. http://dx.doi.org/10.17851/1983-3636.13.1.7-13.
Full text
28
Tatum, James. "A Real Short Introduction to Classical Reception Theory." Arion: A Journal of the Humanities and the Classics 22, no. 2 (2014): 75–96. http://dx.doi.org/10.1353/arn.2014.0011.
Full text
29
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.
Full text
30
James Tatum. "A Real Short Introduction to Classical Reception Theory." Arion: A Journal of Humanities and the Classics 22, no. 2 (2014): 75. http://dx.doi.org/10.2307/arion.22.2.0075.
Full text
31
Hopkins, David. "Classical Literature and its Reception: An Anthology (review)." Translation and Literature 16, no. 2 (2007): 236–40. http://dx.doi.org/10.1353/tal.2007.0022.
Full text
32
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.
Full text
33
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.
Full textAbstract:
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.
34
Bridges, Emma, and Henry Stead. "Reception." Greece and Rome 66, no. 2 (September 19, 2019): 329–34. http://dx.doi.org/10.1017/s0017383519000147.
Full textAbstract:
As the editors ofOnce and Future Antiquitiespoint out in their preface, ‘science fiction, fantasy, and the classics have in common the effect of inviting us to reconsider (by speculating, by imagining, by contextualizing) our own world anew’ (xi). The fourteen wide-ranging chapters in this volume eloquently illustrate this point. Contributors explore the multiple ways in which the genres of science fiction and fantasy (SF&F) engage with, respond to, and cast new light on cultural artefacts, story patterns, and characters from the ancient Greek and Roman worlds, reflecting too on how these receptions respond to contemporary preoccupations. Appropriately for a volume on classical receptions, the contributions are all linked by the unifying theme of ‘displacements’ – a concept which refers here both to the movement of ideas, texts, and themes across time and space, and to the disruption of perceived genre boundaries or preconceived ideas about the relationship between receiving and source texts or cultures.
35
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.
Full textAbstract:
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.
36
Panegyres, Konstantine. "Classical Metre and the Music of the Renaissance." Greek and Roman Musical Studies 4, no. 1 (February 24, 2016): 126–53. http://dx.doi.org/10.1163/22129758-12341271.
Full text
37
Borowski, Paweł, and Henry Stead. "“Ovid’s Old Age”." Clotho 2, no. 2 (December 18, 2020): 5–38. http://dx.doi.org/10.4312/clotho.2.2.5-38.
Full textAbstract:
“Ovid’s Old Age” is a sung poem written by the Polish poet and musician Jacek Kaczmarski (1957–2004) which engages with the myth of Ovid’s exile. Kaczmarski’s works were heavily influenced both by classical culture and his experience of political emigration during the communist era. He was famed as an unofficial bard of the opposition movement, but is as yet little known to classical reception scholars. This paper presents Kaczmarski’s creative engagement with Ovid as both a deeply personal reflection on the nature of exile and at the same time a universal commentary on poetry under authoritarian regimes. Our interpretation is based on a thematic analysis of the poem, including landscape, imperialism, displacement, “national” poets in exile, nostalgia, and the force of poetry. We set the reception in its social, political, and biographical context, with reference to several mediating receptions of the Ovidian exile. In Kaczmarski’s poem, the Ovidian voice helps the poet to express the trials of emigration and reveals their effect on his art. It shows how engagements with classical culture may flourish, even while the formal discipline of Classics has been undernourished. We provide a bilingual translation of “Ovid’s Old Age” to foster the understanding of migratory experiences in contemporary poetry and enrich international scholarship on the reception of Ovid with a response from communist Poland.
38
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.
Full textAbstract:
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.
39
Agnew, Lois. "Demosthenes as Text: Classical Reception and British Rhetorical History." Journal for the History of Rhetoric 19, no. 1 (January 2016): 2–30. http://dx.doi.org/10.5325/jhistrhetoric.19.1.0002.
Full textAbstract:
ABSTRACT British rhetorical theorists demonstrate a persistent interest in Demosthenes, but their interpretations of his significance reflect different understandings of rhetoric. This article uses reception theory to illuminate how British depictions of Demosthenes at different moments in history reflect writers’ values and rhetorical aims. The focus on Demosthenes as a model of rhetorical prowess becomes particularly important for nineteenth-century British theorists who conceive of rhetoric as an individualistic display of linguistic virtuosity. Viewing Demosthenes through the lens of reception history reveals the inherent instability of a disciplinary history that is not only shaped by important figures, but also constructs those figures in ways that reflect shifting scholarly values.
40
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.
Full text
41
Agnew, Lois. "Demosthenes as Text: Classical Reception and British Rhetorical History." Advances in the History of Rhetoric 19, no. 1 (January 2, 2016): 2–30. http://dx.doi.org/10.1080/15362426.2016.1137249.
Full text
42
Brown, S. A. "Science fiction and classical reception in contemporary women's writing." Classical Receptions Journal 4, no. 2 (November 1, 2012): 209–23. http://dx.doi.org/10.1093/crj/cls015.
Full text
43
Harloe, Katherine Cecilia, and Joanna Paul. "Reception." Greece and Rome 62, no. 2 (September 10, 2015): 260–65. http://dx.doi.org/10.1017/s0017383515000133.
Full textAbstract:
The first title in this issue's batch of classical reception publications sees Lucy Pollard take us on an engaging and colourful tour of early modern travellers' experiences in Greece and the Levant. This area of scholarship is well trodden, and many readers will be familiar with David Constantine's Early Greek Travellers and the Hellenic Ideal (1984); but Pollard brings new material to bear by her extensive use of the unpublished diaries of John Covel, the Cambridge scholar and minister who served as chaplain to the Levant Company in Constantinople in the 1670s. These are supplemented with accounts of other seventeenth-century travellers such as George Wheler and Paul Rycaut. Successive chapters cover the logistics of travel, scholarly and archaeological approaches, and perceptions of Greeks and Turks. Pollard tends to let her sources speak for themselves; her arguments about the emergence of a ‘proto-archaeological’ approach to antiquities in the last third of the century, about the importance of perceived religious affinities between Anglican travellers and Orthodox Greeks, and about admiration of the Ottomans as a model for empire are interesting, but made with a light touch. Above all, this provides us with a richly detailed survey of the experiences, challenges, and preoccupations of early modern Englishmen travelling east.
44
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.
Full textAbstract:
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.
45
Panegyres, Konstantine. "Classical Metre and Modern Music." Greek and Roman Musical Studies 6, no. 1 (March 22, 2018): 212–38. http://dx.doi.org/10.1163/22129758-12341319.
Full textAbstract:
Abstract This article explores the influence of Greek metre on modern music. It begins by looking at how composers and theorists debated Greek metre from the seventeenth to the nineteenth century, before focusing more extensively on twentieth century and contemporary material. The article seeks to show that Greek metre for a long time played an important role in the development of Western music theory, but that in more recent times its influence has diminished. One significant development discussed is the influence of Greek metrics on musical Modernism in the early twentieth century. The article is intended as a contribution to our understanding of the reception of ancient metrics in connection with musical developments.
46
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.
Full textAbstract:
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.
47
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.
Full textAbstract:
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.
48
Bashir Masaalti, Mohamed Abdul. "Classical Arabic Narratives and the Prospects of Interpretation." Journal of Arts and Social Sciences [JASS] 6, no. 2 (June 1, 2015): 93. http://dx.doi.org/10.24200/jass.vol6iss2pp93-106.
Full textAbstract:
The aim of this study is to propose an alternative methodology of reading classical Arabic narratives, which forgrounds the effect of reading such narratives on the readers, instead of the traditional concern with questions like : what is the context of classical Arabic narratives within an overall historical context of such texts. The focus in this new proposal is not on what these texts say, or how they say it. Rather the focus is on questions like: What happens to the Reader when he/she reads? In other words, what is the impact of the narrative text on the reader? In our attempt to answer these new questions, we will try to provide an answer to an everlasting question which is : is the narrative text that is critiqued or read good or bad? This question has always been addressed through the identification of reading patterns. This study, however, is not merely an approach to the reading of classical narrative texts. It is rather a study of some patterns of reception of such texts. The aim is to discover the significant role played by reading and reception in the creation of text and in determining its value and meaning.
49
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.
Full textAbstract:
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.
50
Hermans, Erik. "Van Aken tot Bagdad." Lampas 51, no. 2 (January 1, 2018): 144–60. http://dx.doi.org/10.5117/lam2018.2.006.herm.
Full textAbstract:
Summary This article discusses a unique chapter of the classical tradition: the multilingual reception of the Organon of Aristotle during the early Middle Ages. In doing so, it fills two scholarly gaps. First, it focuses attention on the early Middle Ages as a crucial but neglected phase of the classical tradition, when ancient texts were studied in Latin, Greek and Arabic. Secondly, it elucidates the special case of the simultaneous reception of the Organon in these three language realms. In the eighth and ninth century, intellectuals living in cities as far apart as Aachen and Baghdad studied the Organon at the same time in Latin and Arabic, while in Constantinople it was read in the original Greek. No other classical text was read by such a geographically widespread audience. This article aims to explain how a classical corpus that is now only studied by specialists gained such popularity in both Europe and the Middle East.