By Lorna Hardwick, Christopher Stray
Reading the large quantity of the way within which the humanities, tradition, and considered Greece and Rome were transmitted, interpreted, tailored and used, A significant other to Classical Receptions explores the influence of this phenomenon on either old and later societies. presents a entire advent and evaluation of classical reception - the translation of classical artwork, tradition, and concept in later centuries, and the quickest growing to be quarter in classicsBrings jointly 34 essays via a global crew of individuals keen on historical and smooth reception suggestions and practicesCombines shut readi. Read more...
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Additional resources for A Companion to Classical Receptions
The dynamics of creativity in the work of artists and writers, both ancient and modern, also have implications for the relationship between reception and tradition in that writers and artists position themselves in relation to their predecessors and contemporaries and are deeply conscious of being part of a tradition (Sluiter 2000). Yet they also wish to transcend that tradition. How scholars model and discuss that process is at the heart of reception debates. This ‘meta-commentary’ on cultural practices also involves its own reassessments of tradition and innovation in scholarly practice and is one of the underlying strands running through the book.
These are complex activities in which each reception ‘event’ is also part of wider processes. So the title of this volume refers to ‘receptions’ in the plural. We have used the word ‘classical’ in its specific sense of reference to Greek and Roman antiquity. Neither have we attempted to probe the conception of the ‘classic’ in general in its relationship to matrices of receptions (for an approach to the last, see Lianeri and Zajko 2008). The chapters that discuss the interaction between Greek and/or Roman material and various contexts in western culture should not be read as identifying the origins and subsequent genealogies and importance of Greek and Roman material primarily with Europe.
This idea was taken up and refined by Parry’s student Albert Lord (Lord 2000). According to him, the traditional nature of Homeric poetry extends beyond language to type scenes such as arming, bathing or supplication (compare already Parry 1971: 404–7); and even to large-scale story patterns such as the return of a hero after an extended period of absence. What remains a largely unresolved problem is Homer’s relationship with other, earlier literatures in the ancient Mediterranean (Burkert 1992; Morris 1997; West 1997).
A Companion to Classical Receptions by Lorna Hardwick, Christopher Stray