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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 finished advent and evaluation of classical reception - the translation of classical artwork, tradition, and suggestion in later centuries, and the quickest transforming into zone in classicsBrings jointly 34 essays by way of a world staff of participants concerned about old and sleek reception strategies and practicesCombines shut readings of key receptions with wider contextualization and discussionExplores 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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At the same time, some scholars, anxious because of the connotations of conservatism and elitism that the classical tradition cannot always shed, avoid it altogether at the expense of the term ‘reception’. Especially in Britain, reception is sometimes thought to be the less problematic concept of the two. In this chapter, we will not step into the debates over the classical tradition, nor will we focus on discussing ‘tradition’ in general. Rather, we want to pick up on areas of classical scholarship in which tradition has an established role – by which we mean areas where scholars have become accustomed to using the term ‘tradition’, partly for historically contingent reasons but partly also because it seemed appropriate and helpful to do so.

53) calls the Greeks’ ‘theogony’ had to account for the making of the entire world, not just Greece. It is here that we find some of the common ground between epic tradition and near eastern reception that so often proves elusive: Homer’s gods may well have reached the Greeks from the East and they are certainly meant to look international; but at the same time they are also perfectly traditional. This last point can now be generalized: in the context of strongly traditional art forms like early Greek epic, the study of reception acquires a specific meaning.

In the study of reception as indeed elsewhere, ‘tradition’ should not be invoked, defended or attacked as a Platonic idea, but should be seen as a pliable tool for suggesting new perspectives, in different ways on different occasions. The concept is there for the taking. FURTHER READING Martindale 1993 contains important material on tradition in the study of reception (especially ch. 5), as does Lianeri 2006. Hardwick 2003a: ch. 1 charts a path ‘from the classical tradition to reception studies’.

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