By Lorna Hardwick, Christopher Stray
Analyzing the great quantity of how within which the humanities, tradition, and regarded Greece and Rome were transmitted, interpreted, tailored and used, A better half to Classical Receptions explores the influence of this phenomenon on either old and later societies.
- Provides a accomplished creation and review of classical reception - the translation of classical artwork, tradition, and idea in later centuries, and the quickest starting to be region in classics
- Brings jointly 34 essays via a world crew of individuals concerned about old and smooth reception strategies 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 the most important new components in Arabic literature, South African drama, the historical past of images, and modern ethics
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Extra resources for A Companion to Classical Receptions
So we must ask: where exactly is the act of reception to be located in the case of this poem? It may be in the perception of ancient audiences, who heard the poem as Homeric; or in the work of the poet, who updated the Homeric tradition by introducing a new god. The issue is not limited to poems belonging, like the Hymn to Pan, to the Greek hexameter tradition. Throughout Greek literature (and, indeed, art and culture more generally) it is very difficult to distinguish between specific engagements with the Homeric poems and wider evocations of the epic past.
Before we end, though, we need to address an issue that is raised by our particular choice of examples. We picked two traditions that between them cover a certain breadth, trying to demonstrate that our topic embraces both ancient (Homer, Anacreon) and more recent (Cowley), and both conventionally classical and non-canonical (EnEma eliG) material. Yet in a different way our choice has been rather limited. Both case studies are taken from traditions that are firmly established within classical scholarship.
Hera’s speech in Iliad 14, from which our passage is taken, is likewise born of insubordination and contains similar half-truths: her description of Oceanus and Tethys in particular seems only a slight exaggeration when compared to the Theogony, where they give rise to no fewer than 6,000 divine children (Hes. Th. 337–70). Declaring Oceanus the ‘origin of the gods’ is not so much wrong as it is tendentious. A similar point can be made about Hera’s claim to be his foster daughter, and about the alleged time of her adoption during the battle of the Titans.