Reception

2016 ◽  
Vol 63 (2) ◽  
pp. 277-283
Author(s):  
Katherine Harloe ◽  
Joanna Paul
Keyword(s):  
Classical Tradition ◽  
Reception Studies ◽  
Important Work ◽  
Classical Reception ◽  
Magnum Opus ◽  
Full Consideration

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.

scholarly journals Athens to Aotearoa: Greece and Rome in New Zealand Literature and Society

2018 ◽  
Author(s):  
Marguerite Johnson
Keyword(s):  
Comparative Literature ◽  
Popular Culture ◽  
New Zealand ◽  
Classical Tradition ◽  
Visual Arts ◽  
Reception Studies ◽  
Literature And Society ◽  
Classical Reception

Classical Reception Studies has developed over the last twenty years, with Classicists and Ancient Historians finding never-ending sources of academic inspiration. With its origins in Comparative Literature Studies and the Classical Tradition, Classical Reception Studies has extended beyond textual analyses to include the visual arts, film, popular culture, and socio-political histories and philosophies. It has also extended beyond Britain and Europe – its traditional strongholds – to research embedded in the influence of ancient Mediterranean cultures on the Antipodes.  

Introduction

2019 ◽  
pp. 1-26
Author(s):  
Thea S. Thorsen
Keyword(s):  
Reception Studies ◽  
Present Volume ◽  
Roman Literature ◽  
Classical Reception ◽  
Roman Poetry ◽  
Important Evidence

Within a framework that shows how Sappho’s reception in antiquity has important implications for Sappho scholarship, our understanding of Roman poetry, and of classical reception studies in general, the introduction outlines the extant output of Sappho, including the newest Sappho text (2016), as well as the chapters of the present volume. The introduction departs from three Sappho scholars, Welcker (1784–1868), Wilamowitz-Moellendorff (1848–1931), and Robinson (1880–1958), and reflects on the scholarly implications of how their times were ideologically different from ours. By revisiting important evidence for Sappho’s ancient reception, such as the Parian Marble, coins, figurative representations of Sappho, and considering recent papyrus finds from the Roman era, the introduction zooms in on Roman literature, which is the main focus of the present volume. Then there follows a brief presentation of Sappho’s extant output and an ample thematic presentation of the chapters in the volume. Finally, the introduction discusses Shane Butler’s new concept of Deep Classics in the context of Sappho’s Roman reception, and points towards another metaphor, this time from art, as a means to pursue future reception studies, using the restored Sappho fragment that was retrieved in 2004, known as ‘Posthumous honour for Sappho’, to illustrate the point.

Prologue

2021 ◽  
pp. 1-4
Author(s):  
Ashley Clements
Keyword(s):  
Classical Tradition ◽  
History Of Anthropology ◽  
The Real ◽  
Classical Reception ◽  
History Of

The prologue issues a challenge to all interested in the Classics to address the questions ‘Why does Classics matter now?’ and ‘What should it hope to contribute to the vital issues of our present?’ by exploring how the Classics have always been embroiled in anthropological conversations about our place in relation to others. The aim of the book they frame, they assert, is to highlight—ultimately in positive terms—the contingency of the Classics’ most profound (and often disastrous) conceptual heritage to us. The historical story of the place of the Classical tradition and Classics in anthropology, it claims, enlivens us to the real contribution the Classics might make now beyond the history of Classical reception and enjoins direct engagement with the question of why we need Classics now. This book’s story of the history of anthropology, it argues, tells us this: we need to do it in order to think beyond it.

The Classical Tradition

2010 ◽  
Author(s):  
Craig Kallendorf
Keyword(s):  
Early Modern ◽  
Classical Tradition ◽  
Early Modern Period ◽  
Reception Studies ◽  
The Past ◽  
Intellectual Elite ◽  
Past Generation ◽  
Modern Period ◽  
The Arts ◽  
Renaissance Studies

Even the word “Renaissance” (“rebirth” in French) points to the effort to revive the learning of antiquity that motivated the intellectual elite of that era—for what sprang forth was an urgent awareness of the ancient past, prompting innovations in both ideas and the arts. The classical tradition, accordingly, has long played a central role in Renaissance studies. With the growing interest in nonelite cultures, the classical tradition in what is now sometimes called the early modern period has had to share the scholarly stage with an ever-increasing number of other areas of inquiry, but the recent burst of activity in reception studies has given the classical heritage a new lease on life along with a way to engage with the more theoretical discourse that has flourished in other areas of Renaissance studies over the past generation.

scholarly journals A ‘Distinctive’ Map of London: Women, Theatre and the Classics in 1893

2020 ◽  
Vol 47 (1) ◽  
pp. 26-42
Author(s):  
Laura Monrós-Gaspar
Keyword(s):  
Nineteenth Century ◽  
Essential Role ◽  
Entertainment Industry ◽  
Reception Studies ◽  
Classical Reception ◽  
Concert Halls

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.

Haji Mullā Hādī Sabzawārī (d. 1878),

2016 ◽  
Author(s):  
Fatima Fena
Keyword(s):  
Important Work ◽  
Philosophical Thought ◽  
Mulla Sadra ◽  
Magnum Opus

Ḥājj Mullā Hādī Sabzawārī (1212/1797 or 1798–1289/1873), was one of the major followers and commentators of Mullā Ṣadrā’s transcendent philosophy. Sabzawārī’s profound understanding of the transcendent philosophy and his skill in teaching and commenting upon it was such that after Mullā Ṣadrā himself, Sabzawārī is generally considered to have played one of the most important roles in the development and propagation of this school. The most important work of Sabzawārī is the Ghurar al-farāʾid and his own commentary upon it is a relatively systematic summary of introduction to Mullā Ṣadrā’s magnum opus, the Asfār. The chapter introduces and analyzes the major principles and foundations of Sabzawārī’s philosophical thought, including the three fundamental principles of the ontology of the transcendent philosophy: the primacy of existence (aṣālat al-wujūd), the unity of the reality of existence (waḥdat ḥaqīqat al-wujūd), and gradation in the levels of being (tashkīk al-wujūd).

V Ancient Epigram in Reception

2008 ◽  
Vol 38 ◽  
pp. 140-162
Author(s):  
Niall Livingstone ◽  
Gideon Nisbet
Keyword(s):  
Classical Tradition ◽  
Subject Matter ◽  
Reception Studies ◽  
The Arts ◽  
Classical Studies ◽  
Recent Trends ◽  
Definition Of ◽  
Conventional Study ◽  
Ancient Texts

‘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).

The politics of classical allusion at the end of the eighteenth century: radical or redundant?

2010 ◽  
Vol 56 ◽  
pp. 95-139
Author(s):  
Matthew Hiscock
Keyword(s):  
Twentieth Century ◽  
Eighteenth Century ◽  
Classical Tradition ◽  
Basic Question ◽  
Hellenistic Period ◽  
Basic Assumptions ◽  
Classical Reception ◽  
History Of ◽  
Stark Contrast

My epigraphs offer a stark contrast in their basic assumptions about the place of classical allusion in eighteenth century writing. The second, published only last year in a series devoted to classical reception, implies that allusion – whether conscious or unconscious – is always ‘significant’; the first, fifteen years old and from the first number of the International Journal of the Classical Tradition, suggests that it is largely incidental and superficial. To be fair to Kennedy, the passage quoted above comes from an abbreviated history of classicism from the Hellenistic period to the twentieth century which could not be expected to offer a nuanced account of the nature of classical allusion in the various periods it discusses; but the basic question remains: is classical allusion in the eighteenth century ornamental or essential?

Introduction

2018 ◽  
Author(s):  
Basil Dufallo
Keyword(s):  
Recent Work ◽  
Reception Studies ◽  
Harold Bloom ◽  
Theoretical Claim ◽  
Classical Reception ◽  
The Future

In the introduction Dufallo lays out the volume’s main arguments, briefly summarizes its contents, explains its relation to recent work in classical reception studies, and advances its theoretical claim in response to the poststructuralist view of classical reception advanced especially by Charles Martindale. All reception could be considered “error” insofar as it involves “misreading” in the sense elaborated by Harold Bloom. But the essays in this volume reveal specific ways in which reception’s transgressive content may relate to its transgressive form or style because of the investments of receivers in a future that will view that content differently: the particular social, cultural, or political projects in which authors, artists, etc. participate as they set in motion the infinite malleability of signs. This foregrounds a pair of issues that have figured centrally in recent debates over classical reception: its relation to collective, as opposed to individual, receivers and to the future.

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