A Companion to Classical Receptions by Lorna Hardwick, Christopher Stray

By Lorna Hardwick, Christopher Stray

Analyzing the great quantity of how during which the humanities, tradition, and considered Greece and Rome were transmitted, interpreted, tailored and used, A spouse to Classical Receptions explores the effect of this phenomenon on either historic and later societies.

  • Provides a accomplished creation and assessment of classical reception - the translation of classical artwork, tradition, and notion in later centuries, and the quickest starting to be quarter in classics
  • Brings jointly 34 essays through a global workforce of participants all for old and sleek reception innovations and practices
  • Combines shut readings of key receptions with wider contextualization and discussion
  • Explores the impression of Greek and Roman tradition all over the world, together with an important new components in Arabic literature, South African drama, the historical past of images, and modern ethics

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Example text

At a basic level, we may ask two questions: in what ways the ancient reception of Homer shaped modern readings; and, conversely, how modern views about Homeric epic affect our understanding of its ancient reception. But these two questions are, in fact, inadequate. Many ancient and, indeed, modern acts of reception challenge linear notions of time, or of literary history, so that any neat division between the ancient and modern reception of Homer is called into question by the very acts which are usually studied under those two labels.

Then, with cunning intent the lady Hera answered her: ‘Give me loveliness and desirability, graces with which you overwhelm mortal men, and all the immortals. Since I go now to the ends of the generous earth, on a visit to Okeanos, whence the gods have risen, and mother Tethys who brought me up kindly in their own house, and cared for me and took me from Rheia, at the time when Zeus of the wide brows drove Kronos underneath the earth and the barren water. ’ (tr. Lattimore; modified) The extract is taken from a longer speech: Hera asks Aphrodite for the kestos, a magic piece of clothing with which she hopes to distract Zeus from the battlefield and thus ensure an Achaean victory.

It seems, then, that contrasting definitions of Homer’s oeuvre are not just a matter of historical development (wider range of poems in the archaic period, stricter definitions later on), but also depend on context. Professional rhapsodes who earned their livelihood by travelling from city to city and reciting epic at local festivals would have found it expedient to insist that they were performing the works of Homer. In this way, they could rely on one name which had Panhellenic fame and status, in order to attract audiences to their performances.

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