By Lorna Hardwick, Christopher Stray
Reading the great quantity of the way 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 historic and later societies.
- Provides a complete advent and review of classical reception - the translation of classical paintings, tradition, and inspiration in later centuries, and the quickest growing to be sector in classics
- Brings jointly 34 essays via a global crew of members keen on old and sleek reception ideas and practices
- Combines shut readings of key receptions with wider contextualization and discussion
- Explores the effect of Greek and Roman tradition around the globe, together with the most important new components in Arabic literature, South African drama, the heritage of images, and modern ethics
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Additional info for A Companion to Classical Receptions
With Cowley, things were very much more straightforward: not all his sources can be traced, but he clearly had Anacreontea 21 in mind and assumed that at least some of his readers did too. By contrast, it cannot be proved that Homer ever came into contact with non-Greek poetry, including EnEma eliG. Sceptics have even suggested that parallels between Homeric epic and earlier Near Eastern texts are largely a reflection of standard human patterns of thought; though this position seems extreme and is becoming increasingly untenable.
Perhaps one of the most helpful observations to make about these repeated features is to point out that many of them are shared with the ever-popular genre of drinking song, and to note that Anacreontic poetry weaves together refined poetry and banal forms of conviviality (Achilleos 2004). The connection with drinking song is important because it helps explain both the remarkable degree of stability in the tradition and its popularity in many contexts in which popular forms of song and high-cachet poetry could be brought together (Roth 2000 is particularly suggestive).
First, because they invoked and even embodied Homer as the author of the poems they were performing (Nagy 2004), they naturally aroused the curiosity of their audiences about this poet, and then satisfied it by telling stories about his life: the surviving Lives of Homer have strong rhapsodic influences, and often attempt to establish special connections between Homer and particular places or audiences (Graziosi 2001, 2002). Thus, the anonymity of the epics, and their equidistance from all audiences, was counterbalanced by biographical narratives which could be adapted to suit individual circumstances and local preferences.