Ancient Classical

A Companion to Classical Receptions by Lorna Hardwick, Christopher Stray

By Lorna Hardwick, Christopher Stray

Reading the large quantity of the way during which the humanities, tradition, and considered Greece and Rome were transmitted, interpreted, tailored and used, A significant other to Classical Receptions explores the impression of this phenomenon on either historic and later societies. presents a entire creation and assessment of classical reception - the translation of classical artwork, tradition, and suggestion in later centuries, and the Read more...

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

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A Companion to Classical Receptions

Interpreting the great quantity of how during which the humanities, tradition, and regarded Greece and Rome were transmitted, interpreted, tailored and used, A better half to Classical Receptions explores the influence of this phenomenon on either historical and later societies. presents a complete creation and review of classical reception - the translation of classical paintings, tradition, and notion in later centuries, and the quickest growing to be zone in classicsBrings jointly 34 essays via a global team of individuals excited by historic and sleek reception suggestions and practicesCombines shut readi.

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Fill up the Bowl, then, fill it high, Fill all the Glasses there; for why Should every creature drink but I, Why, Man of Morals, tell me why? In analyzing this poem as an act of reception the first thing to point out is its close connection with one of the Anacreontea (21 in today’s standard numeration). Cowley imitates the basic sequence of the drinking earth, plants, sea, sun and moon, leading up to the question about the speaker’s own drink, but elaborates throughout and so produces a poem that is three times as long.

A revisionist approach to the relationship between tradition and reception is explored by Johannes Haubold and Felix Budelmann in the chapter that begins this volume. They suggest that a desire for a ‘democratic turn’ is a poor reason for shedding the term ‘tradition’ in favour of ‘reception’ and on the basis of specific examples from antiquity and beyond they argue that the reciprocal relationship between the two is fluid, both in practice and in theory. Sometimes the question raised is also about the balance to be struck in reception analysis between diachronic and synchronic approaches.

Cashman Kerr Prince’s chapter on André Gide’s rewriting of myth engages with the impact of modernism on conceptions of the past. Gide foreshadows some current debates on the relationship between the use of myth in creative writing and the ensuing perceptions of antiquity and its figures that pass into public consciousness via reading. In part V the focus shifts to the performing arts. Michael Ewans discusses Apolline and Dionysiac receptions of Greek tragedy in opera, with detailed attention to the relationship between poetry and musical form.

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