A Companion to Classical ReceptionsLorna Hardwick, Christopher Stray John Wiley & Sons, 2011 M04 12 - 560 páginas Examining the profusion of ways in which the arts, culture, and thought of Greece and Rome have been transmitted, interpreted, adapted and used, A Companion to Classical Receptions explores the impact of this phenomenon on both ancient and later societies.
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Página 4
... Virgil, which puts chapters on reception at the beginning but, nevertheless, does divide them from the rest of the book (Martindale 1997). It remains to be see how Companions in preparation (for instance on themes such as Classical ...
... Virgil, which puts chapters on reception at the beginning but, nevertheless, does divide them from the rest of the book (Martindale 1997). It remains to be see how Companions in preparation (for instance on themes such as Classical ...
Página 6
... Virgil's poetry in educational, literary and public frames of reference from the nineteenth century to the present. The relationship between classical material and the public sphere that emerged from part II is explored in different ...
... Virgil's poetry in educational, literary and public frames of reference from the nineteenth century to the present. The relationship between classical material and the public sphere that emerged from part II is explored in different ...
Página 31
... Virgil read); but that it is much more difficult to know what versions of the Iliad Spartan school boys copied out in the fifth century, or even the exact wording and number of lines in Plato's copy of Homer (Nagy 2002). For all that ...
... Virgil read); but that it is much more difficult to know what versions of the Iliad Spartan school boys copied out in the fifth century, or even the exact wording and number of lines in Plato's copy of Homer (Nagy 2002). For all that ...
Página 33
... Virgil, imitators of Homer par excellence, do their own version of the simile of the leaves (at Argonautica 4.216ff and Aeneid 6.305ff respectively): here we can assume that Iliad 6 is a significant model, but other manifestations of ...
... Virgil, imitators of Homer par excellence, do their own version of the simile of the leaves (at Argonautica 4.216ff and Aeneid 6.305ff respectively): here we can assume that Iliad 6 is a significant model, but other manifestations of ...
Página 35
... Virgil echoed Callimachus' hatred of the cyclic poem in Georgics 3.4, only to rework the epic cycle in his Aeneid, especially in books 2 and 3. His approach was meant as a challenge: he could fashion a poem equal to the Iliad and the ...
... Virgil echoed Callimachus' hatred of the cyclic poem in Georgics 3.4, only to rework the epic cycle in his Aeneid, especially in books 2 and 3. His approach was meant as a challenge: he could fashion a poem equal to the Iliad and the ...
Contenido
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26 | |
50 | |
Canon Class and Ideology | 75 |
the Uses of Classics in Trinidad in the 1950s and 1960s | 98 |
The Case | 129 |
The Arab | 141 |
Translating the Classical Play | 153 |
Pylades wearing a steeplecrowned clowns hat Clytemnestra | 282 |
Aristophanes between Israelis and Palestinians | 287 |
reconstruction | 292 |
Theories and Methodologies | 303 |
The Cyclops and the Gods | 315 |
Film as a Teaching Tool for the Classics | 327 |
Game 1992 directed by Neil Jordan | 329 |
The Politics of Ruins in Roma capitale | 345 |
Lost in Translation? The Problem of Aristophanic Humour | 168 |
André Gides Rewriting of Myth | 185 |
Feminist Models of Reception | 195 |
Moses and Monotheism and | 207 |
Canonization and Periodization | 219 |
Apolline and Dionysiac | 231 |
Body and Mask in Performances of Classical Drama on | 259 |
Oedipus Rex directed by Tyrone Guthrie in 1955 | 263 |
A Case | 274 |
The 1903 Athenian | 360 |
Greek Drama in South Africa | 373 |
Putting the Class into Classical Reception | 386 |
Images of the Odyssey in the Art | 401 |
Future Prospects | 469 |
Bibliography | 482 |
Index | 533 |
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Achilles actors Aeschylus aesthetic African Afrikaans ancient Greek ancient world Antigone antiquity Arab Aristophanes Aristotle Aristotle’s artistic Athenian Athens audience body canonical century chapter character chorus cinematic classical past classical reception classicists Classics and film comedy contemporary context critical Crying Game cultural Cyclops debate Dionysus discussion drama Elektra English epic episode Euripides example feminist Fergus figure film’s Freud Gladstone gods Greece Greek and Roman Greek tragedy Hardwick hero Homer human humour Iliad Israeli Katharevousa language Latin literary literature Lysistrata mask Medea Mistriotes modern moral myth narrative Odysseus Oedipus Oresteia Orestes original performance Persian Phaeacians philosophers photographs Plato play poem poetic poetry poets political Poseidon present production Prometheus question Raffaello Sanzio reception studies reception theory relationship rhetoric role Rome Rome’s scholars scholarship Socrates Sophocles stage story Symonds theatre themes theory tion translation Ulysses Virgil virtue ethics Walcott’s Williams’s words