By Lorna Hardwick, Christopher Stray
Interpreting 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.
- Provides a accomplished advent and assessment of classical reception - the translation of classical paintings, tradition, and suggestion in later centuries, and the quickest growing to be sector in classics
- Brings jointly 34 essays via a global team of participants concerned with old and sleek reception innovations and practices
- Combines shut readings of key receptions with wider contextualization and discussion
- Explores the influence of Greek and Roman tradition around the world, together with an important new components in Arabic literature, South African drama, the background of images, and modern ethics
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Extra info for A Companion to Classical Receptions
Powell 1991; cf. West 1998, though he would resist calling the man ‘Homer’: West 1999). These different conceptions dramatically affect the project of studying his ancient reception since, depending on our conceptual framework, we may focus on the texts of the Iliad and the Odyssey as they have reached us, or consider the broader epic tradition out of which those two poems gradually emerged. I propose to start with a brief overview of ancient uses of the name Homer. The Iliad and the Odyssey, as is well known, are resolutely silent about their author and so, it seems, are the other hexameter poems which were sometimes described as Homeric in antiquity.
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.
The poets of the Anacreontea often remained anonymous, and in various ways positioned themselves as continuing a project started by Anacreon rather than advertising their own originality. Cowley is less self-effacing. He publishes in his own name and leaves his mark. Not least because of his rhetorical expansions, Cowley has often been regarded as the most important English Anacreontic poet (Baumann 1974: 73–9; Mason 1990: 107–9). The jibe at the ‘man of morals’, too, distinguishes this poem not just from Anacreontea 21, but also from other, less polemical, versions of it.
A Companion to Classical Receptions by Lorna Hardwick, Christopher Stray