By Lorna Hardwick, Christopher Stray
Interpreting the large quantity of how within which the humanities, tradition, and regarded Greece and Rome were transmitted, interpreted, tailored and used, A significant other to Classical Receptions explores the effect of this phenomenon on either historical and later societies.Provides a finished creation and review of classical reception - the translation of classical artwork, tradition, and inspiration in later centuries, and the quickest growing to be quarter in classicsBrings jointly 34 essays via a global workforce of individuals excited by historical and sleek reception innovations and practicesCombines shut readings of key receptions with wider contextualization and discussionExplores the effect of Greek and Roman tradition all over 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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Additional resources for A Companion to Classical Receptions (Blackwell Companions to the Ancient World)
We chose two unusually well-established traditions because we wanted to give ourselves room for illustrating ways in which tradition as a critical term can help studying acts of reception. With different examples, the chapter would have looked rather different. But that is of course part of our point. The important thing to understand here is that one of the most interesting questions about traditions is what they allow people to do. Traditions are enabling. They enable people – scholars as much as poets, politicians and whole societies – to make certain connections.
The reasons for this are complex and are certainly not exhausted by labelling Homeric poetry an ‘oral’ art form (Foley 2002). Recent scholarship suggests that the traditional features of Homeric poetry have much to do with its claims to truth and authority (Graziosi/Haubold 2005). Whatever the reasons behind the phenomenon, such is the level of repetition and formulaic stylization in Homeric poetry that it is often difficult to pinpoint the contribution of individual composer-performers. This has an obvious impact on the terms of our inquiry: with Cowley we asked what thinking about tradition can add to our understanding of reception.
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. Even so, Cowley can still be looked at as part of a larger project. He calls his piece a paraphrastic translation, and uses the term ‘Anacreontiques’ almost as the marker of a genre. He thus places his poem among other poems carrying this label, like Weckherlin’s ‘Ode oder Drincklied.
A Companion to Classical Receptions (Blackwell Companions to the Ancient World) by Lorna Hardwick, Christopher Stray