By Lorna Hardwick, Christopher Stray
Studying the great quantity of the way within which the humanities, tradition, and regarded Greece and Rome were transmitted, interpreted, tailored and used, A spouse to Classical Receptions explores the impression of this phenomenon on either historical and later societies.
- Provides a accomplished advent and review of classical reception - the translation of classical paintings, tradition, and proposal in later centuries, and the quickest starting to be zone in classics
- Brings jointly 34 essays through a world team of individuals all for historic and sleek reception strategies and practices
- Combines shut readings of key receptions with wider contextualization and discussion
- Explores the effect of Greek and Roman tradition world wide, 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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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. Of those, only the Homeric Hymns survive as complete poems; but it seems likely that the poems of the Theban and the Trojan Cycle did not contain explicit references to their authors (the ancients, who endlessly debated their authorship, did not apparently know of autobiographical passages within the poems which would help settle the question).
It would thus appear that a simple dichotomy between ‘traditional’ and ‘untraditional’ material does not do justice to the complexities of Hera’s speech. Nor will it help us understand the dynamics of reception in the context of early Greek epic. g. Fantuzzi and Hunter 2005; Hinds 1998). That this was so was well understood by their contemporaries and was an important part of the enjoyment the texts had to offer. We look in vain for a similar awareness among the audiences of Homer. The Homeric scholia notoriously fail to comment on possible connections with earlier non-Greek texts: even such glaring parallels as Iliad 14 and EnEma eliG 1 are passed over in silence.
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.
A Companion to Classical Receptions by Lorna Hardwick, Christopher Stray