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H D Scourfield", "family": "Scourfield", "orcid": null, "affil": [ "Professor of Classics at Maynooth University (National University of Ireland Maynooth), currently writing a monograph on classical receptions in the work of E. M. 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Classical heroism and World War I", "authors": [ { "name": "Angela Hobbs", "family": "Hobbs", "orcid": null, "affil": [ "Professor of the Public Understanding of Philosophy at the University of Sheffield" ] } ], "abstract": null, "license": "OUP standard", "cited_by": 4, "n_refs": 40, "refs_to_crj": 0, "funder": [], "n": 191 }, { "doi": "10.1093/crj/cly015", "year": 2018, "vol": "10", "issue": "4", "title": "The poetics of cultural memory: WWI refractions of ancient peace", "authors": [ { "name": "Lorna Hardwick", "family": "Hardwick", "orcid": null, "affil": [ "Professor Emerita of Classical Studies at The Open University and Director of the Classical Receptions in Late Twentieth Century Drama and Poetry in English project" ] } ], "abstract": null, "license": "OUP standard", "cited_by": 2, "n_refs": 61, "refs_to_crj": 3, "funder": [], "n": 192 }, { "doi": "10.1093/crj/cly016", "year": 2018, "vol": "10", "issue": "4", "title": "Legitimizing war and defending peace: Thucydides in the First World War and after", "authors": [ { "name": "Neville Morley", "family": "Morley", "orcid": null, "affil": [ "Professor in Classics and Ancient History at the University of Exeter and an Einstein Visiting Fellow at the Freie Universität Berlin, as part of a collaboration studying change and instability in the ancient world and its modern interpretation" ] } ], "abstract": null, "license": "OUP standard", "cited_by": 0, "n_refs": 72, "refs_to_crj": 0, "funder": [], "n": 193 }, { "doi": "10.1093/crj/cly018", "year": 2018, "vol": "10", "issue": "4", "title": "A peace play in wartime Germany? Pacifism in Franz Werfel’s The Trojan Women , Berlin 1916", "authors": [ { "name": "Ingrid Sharp", "family": "Sharp", "orcid": null, "affil": [ "Professor of German Cultural and Gender History at the University of Leeds, leading the ‘Resistance to War’ strand of the ‘Legacies of War’ project" ] } ], "abstract": null, "license": "OUP standard", "cited_by": 0, "n_refs": 34, "refs_to_crj": 0, "funder": [], "n": 194 }, { "doi": "10.1093/crj/cly019", "year": 2018, "vol": "10", "issue": "4", "title": "Introduction: Strange Meetings", "authors": [ { "name": "E E Pender", "family": "Pender", "orcid": null, "affil": [ "Associate Professor of Classics at the University of Leeds and academic lead of the White Rose Universities network ‘Classical Heroism in War and Peace 1914–24’." ] } ], "abstract": null, "license": "OUP standard", "cited_by": 2, "n_refs": 50, "refs_to_crj": 0, "funder": [], "n": 195 }, { "doi": "10.1093/crj/cly020", "year": 2018, "vol": "10", "issue": "4", "title": "Afterword", "authors": [ { "name": "Elizabeth Vandiver", "family": "Vandiver", "orcid": null, "affil": [ "Clement Biddle Penrose Professor of Latin and Classics at Whitman College, author of Stand in the Trench, Achilles: Classical Receptions in British Poetry of the Great War (OUP 2010/2013)" ] } ], "abstract": null, "license": "OUP standard", "cited_by": 1, "n_refs": 4, "refs_to_crj": 0, "funder": [], "n": 196 }, { "doi": "10.1093/crj/cly006", "year": 2018, "vol": "11", "issue": "1", "title": "Tragic hero and hero tragedy: reimagining Oedipus the Kin g as Jingju (Peking opera) for the Chinese stage", "authors": [ { "name": "Shouhua Qi", "family": "Qi", "orcid": null, "affil": [] }, { "name": "Wei Zhang", "family": "Zhang", "orcid": null, "affil": [] } ], "abstract": null, "license": "OUP standard", "cited_by": 3, "n_refs": 34, "refs_to_crj": 0, "funder": [], "n": 197 }, { "doi": "10.1093/crj/cly009", "year": 2018, "vol": "11", "issue": "1", "title": "Cyrus Console’s The Odicy and epic ecology", "authors": [ { "name": "Sasha-Mae Eccleston", "family": "Eccleston", "orcid": null, "affil": [] } ], "abstract": null, "license": "OUP standard", "cited_by": 2, "n_refs": 28, "refs_to_crj": 0, "funder": [], "n": 198 }, { "doi": "10.1093/crj/cly010", "year": 2018, "vol": "11", "issue": "1", "title": "Carlyle the tragedian: staging Euripides’ Bacchae in The French Revolution", "authors": [ { "name": "Julia Mebane", "family": "Mebane", "orcid": null, "affil": [] } ], "abstract": null, "license": "OUP standard", "cited_by": 0, "n_refs": 81, "refs_to_crj": 0, "funder": [], "n": 199 }, { "doi": "10.1093/crj/cly017", "year": 2018, "vol": "11", "issue": "1", "title": "Orpheus, Euridice, and the classical tradition in Christian Bök’s Xenotext", "authors": [ { "name": "Sean Gurd", "family": "Gurd", "orcid": null, "affil": [ "University of Missouri, Columbia" ] } ], "abstract": null, "license": "OUP standard", "cited_by": 1, "n_refs": 32, "refs_to_crj": 0, "funder": [], "n": 200 }, { "doi": "10.1093/crj/cly021", "year": 2018, "vol": "11", "issue": "1", "title": "Did their Propertius walk that way? Ezra Pound’s Homage to Sextus Propertius as a complaint against classical philology", "authors": [ { "name": "William Dingee", "family": "Dingee", "orcid": null, "affil": [] } ], "abstract": null, "license": "OUP standard", "cited_by": 2, "n_refs": 85, "refs_to_crj": 0, "funder": [], "n": 201 }, { "doi": "10.1093/crj/cly022", "year": 2018, "vol": "11", "issue": "1", "title": "Redeeming Jocasta: Tawfiq al-Hakim’s ‘Eastern’, ‘Arab’ reception of Sophocles’ Oedipus Tyrannus", "authors": [ { "name": "Karen L Carducci", "family": "Carducci", "orcid": "https://orcid.org/0000-0002-4207-4468", "affil": [] } ], "abstract": null, "license": "OUP standard", "cited_by": 0, "n_refs": 51, "refs_to_crj": 0, "funder": [ "Classical Association of the Atlantic States" ], "n": 202 }, { "doi": "10.1093/crj/clz005", "year": 2019, "vol": null, "issue": null, "title": "Merrie Arcadia: staging the pastoral in the age of the Clarion socialist movement", "authors": [ { "name": "Rhiannon Easterbrook", "family": "Easterbrook", "orcid": "https://orcid.org/0000-0003-1043-1915", "affil": [] } ], "abstract": null, "license": "OUP standard", "cited_by": 0, "n_refs": 71, "refs_to_crj": 0, "funder": [], "n": 203 }, { "doi": "10.1093/crj/cly023", "year": 2019, "vol": "11", "issue": "2", "title": "The Arco dei Fileni: A fascist reading of Sallust’s Bellum Iugurthinum", "authors": [ { "name": "Samuel Agbamu", "family": "Agbamu", "orcid": "https://orcid.org/0000-0002-4844-9283", "affil": [ "Department of Classics, King’s College London, Strand, London, UK" ] } ], "abstract": null, "license": "OUP standard", "cited_by": 4, "n_refs": 77, "refs_to_crj": 1, "funder": [], "n": 204 }, { "doi": "10.1093/crj/clz001", "year": 2019, "vol": "11", "issue": "2", "title": "Beyond contested influence: disentangling Marlowe’s Dido from the Virgil versus Ovid debate", "authors": [ { "name": "Lucy Potter", "family": "Potter", "orcid": null, "affil": [] }, { "name": "Galen Cuthbertson", "family": "Cuthbertson", "orcid": null, "affil": [] } ], "abstract": null, "license": "OUP standard", "cited_by": 0, "n_refs": 60, "refs_to_crj": 1, "funder": [], "n": 205 }, { "doi": "10.1093/crj/clz002", "year": 2019, "vol": "11", "issue": "2", "title": "‘Music for the Wretched’: Euripides’ Trojan women as refugee theatre", "authors": [ { "name": "Paul Eberwine", "family": "Eberwine", "orcid": null, "affil": [] } ], "abstract": null, "license": "OUP standard", "cited_by": 1, "n_refs": 53, "refs_to_crj": 0, "funder": [], "n": 206 }, { "doi": "10.1093/crj/clz003", "year": 2019, "vol": "11", "issue": "2", "title": "W. E. B. Du Bois’s De senectute (1948)", "authors": [ { "name": "Mathias Hanses", "family": "Hanses", "orcid": null, "affil": [] } ], "abstract": null, "license": "OUP standard", "cited_by": 3, "n_refs": 51, "refs_to_crj": 0, "funder": [], "n": 207 }, { "doi": "10.1093/crj/clz004", "year": 2019, "vol": "11", "issue": "2", "title": "Pietas and the ‘Other Camões’ — subversive translation and allusion in The Lusiads", "authors": [ { "name": "Matthew M Gorey", "family": "Gorey", "orcid": "https://orcid.org/0000-0001-5648-6941", "affil": [] } ], "abstract": null, "license": "OUP standard", "cited_by": 3, "n_refs": 45, "refs_to_crj": 0, "funder": [], "n": 208 }, { "doi": "10.1093/crj/clz006", "year": 2019, "vol": "11", "issue": "3", "title": "Drones over Pompeii: cinematic perspectives on antiquity in the digital era", "authors": [ { "name": "Joanna Paul", "family": "Paul", "orcid": null, "affil": [ "The Open University, Walton Hall, Milton Keynes, UK" ] } ], "abstract": "Cityscapes have always been an important part of films set in antiquity, but little attention has yet been paid to the way in which digital cinema uses the ancient city to offer different kinds of access to the past. This article explores how twenty-first century cinema sees the city and apprehends history in new ways in films including Pompeii (2014), Agora (2009), and Gladiator (2000). It focuses on how digital cinema affords the opportunity to ‘see’ the past from above, a quintessentially modern perspective which prompts a range of important questions about the viewer’s relationship to history. The aerial view of the cinematic city encourages reflection on our familiarity with an ancient city, by utilizing the imagery and techniques of digital mapping and virtual reality reconstructions; and it explores our ability to gain mastery over the past, privileging godlike omniscience over the immersiveness that usually characterizes contemporary film. Finally, adopting the perspective of the drone, it suggests a more disturbing, dehumanized version of the past – and future. The discourse around these cinematic cities prompts important and timely consideration of whether digital technology necessarily improves our access to the past, or rather compromises it.", "license": "OUP standard", "cited_by": 3, "n_refs": 73, "refs_to_crj": 0, "funder": [], "n": 209 }, { "doi": "10.1093/crj/clz007", "year": 2019, "vol": "11", "issue": "3", "title": "A misleading source: the fortuna of a sixteenth-century engraving and its impact on the history of Roman baths studies", "authors": [ { "name": "Giacomo Savani", "family": "Savani", "orcid": "https://orcid.org/0000-0002-8076-9535", "affil": [] } ], "abstract": "In this article, I follow the mixed fortunes of a woodcut depicting a cutaway view of a set of ancient baths, so far neglected by modern scholarship. First published in a mid-sixteenth-century treatise on balneology and based on a misinterpretation of Vitruvius (5.10.1), it reappeared as a copy of a Roman wall-painting in several eighteenth-century antiquarian works. The remarkable resonance enjoyed by this image in specialist and popular publications until the early twentieth century makes it one of the most influential and controversial sources in the history of Roman baths studies. In exploring the reasons behind the enduring, uncritical acceptance of this depiction, I raise broader questions concerning the nature and extent of intellectual networks in eighteenth-century Europe.", "license": "OUP standard", "cited_by": 0, "n_refs": 128, "refs_to_crj": 0, "funder": [], "n": 210 }, { "doi": "10.1093/crj/clz008", "year": 2019, "vol": "11", "issue": "3", "title": "(Re)membering Sara Baartman, Venus, and Aphrodite", "authors": [ { "name": "Sarah Derbew", "family": "Derbew", "orcid": null, "affil": [] } ], "abstract": "This article analyses the Black diasporic reception of Venus in the figure of Sara Baartman, a South African woman who performed under the name ‘Hottentot Venus’ in the early nineteenth century, and her theatrical persona in Suzan-Lori Parks’s play Venus [1990] (1997). Through her sophisticated characterization of Sara Baartman, Parks provides insight into the complex performativity of Black femalehood in conjunction with an overwritten Greco-Roman divinity. Parks’s play presents Sara Baartman as a person who forces her audiences, both theatrical and historical, to contend with their own complicit role in her objectification. More broadly, this cross-cultural dialogue attempts to recuperate the Black female subject from lopsided archives. It also contributes to a larger dismantling of the perceived boundaries between Greco-Roman art, African history, and African American literature.", "license": "OUP standard", "cited_by": 2, "n_refs": 58, "refs_to_crj": 1, "funder": [], "n": 211 }, { "doi": "10.1093/crj/clz009", "year": 2019, "vol": "11", "issue": "3", "title": "‘Reader, I married him/her’: Ali Smith, Ovid, and queer translation", "authors": [ { "name": "Holly Ranger", "family": "Ranger", "orcid": "https://orcid.org/0000-0002-8802-4589", "affil": [] } ], "abstract": "This essay frames Ali Smith’s novel Girl meets boy (2007) as a ‘queer translation’ of Ovid, Metamorphoses 9.666-797. I argue that Smith’s presentation of a contemporary genderqueer Iphis and Ianthe not only fictionalizes the critical argument proposed by Judith Butler’s Gender Trouble, but uses Gender Trouble as a queer translation manifesto. Reading Girl meets boy through this Butlerian lens, which foregrounds multiplicity and insists on the politically subversive potential of repetition, I show how Smith translates, re-translates, and re-writes Ovid’s text, to make queer identities that are made to disappear in the Latin ‘loosed’ in translation. I also propose a new reading of the conclusion of Ovid’s episode informed by Smith’s queer translation. I discuss Smith’s politicized use of repetition throughout the novel to produce queer translations which disrupt the surface homophobic discourse of the original text; and I situate the novel’s publication within its historical political context — before the legalization of same-sex marriage in England, Wales, and Scotland. In conclusion, I argue that a queer translation practice, as evidenced by Smith’s novel, is an activist project which combats homophobic discourse (ancient and modern) and allows ancient queer bodies and identities to retain their multiplicity in translation.", "license": "OUP standard", "cited_by": 3, "n_refs": 56, "refs_to_crj": 0, "funder": [], "n": 212 }, { "doi": "10.1093/crj/clz011", "year": 2019, "vol": "11", "issue": "3", "title": "Die klingende Ferne; Walter Braunfels’ Opera Die Vögel after Aristophanes’ Birds", "authors": [ { "name": "Michael Ewans", "family": "Ewans", "orcid": null, "affil": [] } ], "abstract": "This article explores the opera Die Vögel (1920) by Walter Braunfels (1882–1954), and its reception of Aristophanes' Birds. The Introduction is substantial, as the work is little known. It is followed by an Overview of each of the two Acts, which discusses in Act I the relationship to Aristophanes (Braunfels discarded the second half of the original Greek comedy and struck out on a completely new path). Then the article analyses the development during Act II of insight into die klingende Ferne (‘the music of far away') by Hopeful, who is the principal human character in Braunfels' adaptation. It is shown that Hopeful's quest for spiritual values almost beyond human understanding is the central theme of the opera; the superiority of the life of birds, which Aristophanes treats humorously in the two parabaseis, is taken seriously in Braunfels' mystical second Act.", "license": "OUP standard", "cited_by": 0, "n_refs": 14, "refs_to_crj": 0, "funder": [], "n": 213 }, { "doi": "10.1093/crj/clz010", "year": 2019, "vol": "11", "issue": "4", "title": "The youth of antiquity: reception, homosexuality, alterity", "authors": [ { "name": "Shane Butler", "family": "Butler", "orcid": null, "affil": [] } ], "abstract": "Classical reception studies and the Foucault-inflected study of ancient homosexuality came of age together, sharing several key dates in their core bibliographies. This article argues that this synchronicity is no coincidence. In particular, both endeavours have been driven by remarkably similar views of the ‘otherness’ of the past itself. Arguing that this view has partly been motivated by unspoken anxieties about scholarly agency, this article sheds some critical light on the presuppositions and methods of both subfields. It also aims to signpost some better, queerer ways forward, borrowed from the past itself.", "license": "OUP standard", "cited_by": 8, "n_refs": 73, "refs_to_crj": 4, "funder": [], "n": 214 }, { "doi": "10.1093/crj/clz012", "year": 2019, "vol": "11", "issue": "4", "title": "Reinventing the barbarian: Electra, sibling incest, and twentieth-century Hellenism", "authors": [ { "name": "Peter Olive", "family": "Olive", "orcid": "https://orcid.org/0000-0002-6669-8574", "affil": [] } ], "abstract": "Since Hugo von Hofmannsthal’s adaptation of Sophocles’ Electra in 1903, numerous dramatic versions of the Electra story have given the heroine a sexually charged relationship with her brother, or even her sister. Despite being an international phenomenon, predating Jung’s coinage of the ‘Electra complex’ by a decade and enduring through more than a century of artistic and institutional trends, this trope has received little scholarly attention. Since the appearance of sibling incest in adaptations of the Electra plays, scholars from multiple disciplines have even begun to read intimations of incest in the ancient dramatic texts. This article will consider the aetiology of a motif that resists being attributed to a single cause.", "license": "OUP standard", "cited_by": 1, "n_refs": 75, "refs_to_crj": 0, "funder": [], "n": 215 }, { "doi": "10.1093/crj/clz013", "year": 2019, "vol": "11", "issue": "4", "title": "Distance and proximity in Hubert Robert", "authors": [ { "name": "Nathaniel B Jones", "family": "Jones", "orcid": null, "affil": [] }, { "name": "Sara Ryu", "family": "Ryu", "orcid": null, "affil": [] } ], "abstract": "This essay focuses on questions of distance and proximity, both chronological and spatial, in the painting of eighteenth-century French artist Hubert Robert. It argues that, through the manipulation of different modes of distance in his paintings, Robert sought to articulate an aesthetic attitude which highlighted the remoteness of the past at the same time as he brought it into dialogue with the present. This aesthetic of distance is variously enacted by Robert's pictorial reflections on the ancient Roman system of roads, the virtual creation and collection of antiquities, and the actual movement of the physical remnants of the ancient world. The result, the essay suggests, is that Robert's work straddles the border of fiction and reference to both acknowledge and deny the presentness of the past.", "license": "OUP standard", "cited_by": 1, "n_refs": 90, "refs_to_crj": 0, "funder": [], "n": 216 }, { "doi": "10.1093/crj/clz014", "year": 2019, "vol": "11", "issue": "4", "title": "The world in Auerbach’s mouth: Weltliteratur after philhellenism", "authors": [ { "name": "Mathura Umachandran", "family": "Umachandran", "orcid": null, "affil": [ "Postdoctoral Research Associate, Anachronism and Antiquity Project, University of Oxford, Oxford" ] } ], "abstract": "We live in an age of globalized and globalizing phenomena: the contemporary agenda of academic inquiry takes in ‘networks’, ‘connectivity’, and other modes of articulating complex structures of human activity. In Comparative Literature and beyond, the idea of world literature has borne the weight of idealist intercultural understanding, the hopes of translation studies, and the anxieties around the failure of communication. Erich Auerbach offers a touchstone in the conceptual genealogy of world literature (Weltliteratur). This article illuminates how Auerbach’s Weltliteratur is predicated on a polemic with German philhellenism, tracked through Auerbach’s declaration that his idea is ‘ungoethisch’. Auerbach’s revisions to Weltliteratur constituted a strategy to render it a historicist concept. Since Auerbach’s notion of historicism was itself derived from nineteenth-century German humanism, this essay argues that Auerbach was attempting to go with Goethe beyond Goethe. Finally, this essay assesses how successful Auerbach’s decoupling of Weltliteratur from universalism, under the sign of Goethe and the Greeks. I suggest that Weltliteratur is still a pertinent concept today because of Auerbach’s intervention to install historicist and dialectical resources therein.", "license": "OUP standard", "cited_by": 0, "n_refs": 41, "refs_to_crj": 0, "funder": [], "n": 217 }, { "doi": "10.1093/crj/clz015", "year": 2019, "vol": "11", "issue": "4", "title": "Mobilizing Pompeii for Italian Silent Cinema", "authors": [ { "name": "Maria Wyke", "family": "Wyke", "orcid": null, "affil": [ "Department of Greek and Latin, University College London, London, UK" ] } ], "abstract": "A documentary film about the eruption of Vesuvius in 1906 juxtaposes scenes of the damage and deaths it caused in neighbouring communities with shots of Pompeii — the ancient city of the long-since dead. The documentary suggests that Pompeii is a picturesque site where the privileged tourist experiences aesthetic detachment from the excavators’ labour or the locals’ suffering. Despite this critique, four Italian fiction films about the last days of Pompeii were made between 1908 and 1926. This article explores those films and argues that they mobilize Pompeii both for modern Italians and for cinema. They situate viewers immersively within the reconstructed city and substitute for a detached tourist gaze an impassioned, participatory one.", "license": "OUP standard", "cited_by": 1, "n_refs": 44, "refs_to_crj": 0, "funder": [ "British Academy", "Leverhulme Trust" ], "n": 218 }, { "doi": "10.1093/crj/clz018", "year": 2019, "vol": "11", "issue": "4", "title": "Assemblage theory and the uses of classical reception: the case of Aristotle Knowsley’s Oedipus", "authors": [ { "name": "Marchella Ward", "family": "Ward", "orcid": null, "affil": [ "APGRD, Ioannou Centre for Classical and Byzantine Studies, Worcester College, 1 Walton Street, Oxford, UK" ] } ], "abstract": "The metaphors that we use to describe the relationships between texts often carry within them limitations on the relationships that they figure. Classical reception is perhaps the most dominant of these metaphors, structuring the way readers understand the relationships between texts. This is particularly problematic in the early modern period where it is often difficult to account for the relationships between texts using traditional models of influence (a problem that is further amplified in performance). This article uses the example of an Oedipus play written by Aristotle Knowsley sometime between 1596 and 1603 to ask whether thinking about what we more often call ‘receiving texts’ as ‘assemblages’ could offer the study of classical reception a way to confront the restrictions placed upon it by the linearity of literary history. Knowsley’s text — when it is discussed at all — is usually considered to be an amalgamation of Neville’s translation of Seneca’s Oedipus (1563) and Newton’s Thebais (1581), but this restrictive reading, based on assumptions latent in the metaphor ‘classical reception’, excludes a number of texts that participate in productive relationships with the play.", "license": "OUP standard", "cited_by": 8, "n_refs": 39, "refs_to_crj": 0, "funder": [], "n": 219 }, { "doi": "10.1093/crj/clz016", "year": 2019, "vol": "12", "issue": "2", "title": "Aspects of reception: reading Goethe’s Iphigenie auf Tauris with Adorno, Fassbinder, and Jauss", "authors": [ { "name": "John T Hamilton", "family": "Hamilton", "orcid": null, "affil": [] } ], "abstract": "In staging his Iphigenie auf Tauris, Johann Wolfgang Goethe stages reception itself. The story about a Mycenaean maiden who, exiled from her home in the South, was welcomed and sheltered by the barbarian people of the North, readily represents how the corpus of ancient Greek culture, detached from its native historical context, came to be received and curated by German artists, poets, and scholars, including, of course, by Goethe himself. If Goethe’s text is indeed understood as an allegory of reception, then subsequent readings of his Iphigenie should exhibit any number of ways in which reception itself has been formulated and assessed. The investigations here all turn on the issue of verbal aspect. By turning to key German interpretations of Goethe’s drama by Theodor Adorno, Rainer Werner Fassbinder, and Hans Robert Jauss, which emerged during the socially and politically tumultuous period of 1967–73, the present study aims to give a critical account of receptive paradigms — an account based on an investigation into the varied aspects that distinguish different historical receptions of reception.", "license": "OUP standard", "cited_by": 0, "n_refs": 26, "refs_to_crj": 0, "funder": [], "n": 220 }, { "doi": "10.1093/crj/clz017", "year": 2019, "vol": "12", "issue": "2", "title": "Homer's disembodied Siren, the missing player, or, what’s in Faux Rock?", "authors": [ { "name": "Han Tran", "family": "Tran", "orcid": null, "affil": [] } ], "abstract": "What are the Homeric Sirens? This article argues that the non-presence of these creatures’ bodies, which has, for the most part, eluded scrutiny, equates to an absence of their promised song. In place of a singing body, Homer’s audience is told only of hushing winds, an island, blooms and sailor bones. I suggest that this entangled presentation is clarified in Siren Serenade (2010), a sculpture by the American artist, Rachel Harrison. The installation, which features a purpose-built black rock, a satellite dish, and a vinyl record with absent turntable, captures both the Sirens’ disembodied voice and the emptiness of their claim. More intriguingly, it also recasts the rock, the Sirens’ island, as disrupting epic teleology, which correlates their home with death. Instead of an endpoint, the deadly island broadcasting the never-to-be-fulfilled promise can be re-read as fitting within a broader scale and as open to lithic ontology. I substantiate this proposition with insights from Jeffrey Cohen’s work on stone, and suggest that the Sirens’ promise of vast knowledge is death only if conceived from the standpoint of the epic hero’s apprehension of immortality through song. In a lithic timescale, the disembodied voice as rock is life, albeit experienced as ‘non-human’.", "license": "OUP standard", "cited_by": 0, "n_refs": 78, "refs_to_crj": 0, "funder": [ "University of Miami’s Classics Department" ], "n": 221 }, { "doi": "10.1093/crj/clz019", "year": 2019, "vol": "12", "issue": "2", "title": "Chrystian Piotr Aigner, ancient monuments, and the architectural discourse of Polish resurrection in the Age of Revolution", "authors": [ { "name": "Mikołaj Getka-Kenig", "family": "Getka-Kenig", "orcid": null, "affil": [] } ], "abstract": "The role of ancient classical monuments in the history of Polish neoclassicism at the turn of the nineteenth century may seem to be insignificant. However, among many building types, there was one in the case of which ancient classical monuments served as an important source of inspiration for contemporary building practice. It was the architecture of public commemoration that engaged in the discourse of national resurrection after the late-eighteenth-century partitions of the Polish state. Apart from their general associations with natural order and permanent stability, classical architectural models could directly invoke historical or mythological precedents which helped clarify the ambiguities of the resurrection. However, it is notable that such memorials did not only share the propagation of the idea of national resurrection. They also had the same designer, Chrystian Piotr Aigner (1756–1841), who showed an exceptional interest in ancient architecture. This article argues that not only the direct engagement of those commemorative structures in the discourse of national resurrection, but also the choice of the designer with a special penchant for classical antiquity accounted for the unusual use of classical models as design templates in those specific architectural undertakings.", "license": "OUP standard", "cited_by": 0, "n_refs": 0, "refs_to_crj": 0, "funder": [ "National Science Centre" ], "n": 222 }, { "doi": "10.1093/crj/clz026", "year": 2019, "vol": "12", "issue": "2", "title": "Porcelain: another window on the neoclassical visual world", "authors": [ { "name": "Suzanne Marchand", "family": "Marchand", "orcid": null, "affil": [] } ], "abstract": "This article surveys the European, and especially German, porcelain industry’s output of classicizing figurines between about 1740 and 1900 in order to comprehend what vision of the classics Europeans wished to bring into their homes. First made by Italians, classicizing figurines and cameos became a German (and English) specialty, and helped to knit together European luxury markets as well as to spread familiarity with classical iconography to northern and eastern climes. Made for aristocratic courtiers, the first pieces reflect a ‘libertine’ classicism; by about 1790, this style had largely been displaced by a more serious and exacting (but also cheaper!) ‘chaste’ classicism exemplified by Jasperware and white biscuit porcelains. After 1815, industry conditions and the disinterest of new consumers led to the freezing of classicizing porcelains in this latter, ‘chaste’ idiom. As a widely-owned household good by the mid-nineteenth century, porcelain provided an important, if narrow, form of classical education that has left its mark on the tourist industry, and on our perceptions of the classical world.", "license": "OUP standard", "cited_by": 1, "n_refs": 39, "refs_to_crj": 0, "funder": [], "n": 223 }, { "doi": "10.1093/crj/clz020", "year": 2020, "vol": "12", "issue": "1", "title": "Thucydideses: authorship, anachrony, and anachronism in Greek historiography", "authors": [ { "name": "Emily Greenwood", "family": "Greenwood", "orcid": null, "affil": [ "Department of Classics, Yale University, 344 College Street, New Haven, CT, USA" ] } ], "abstract": "This article revisits the theme of temporality in ancient Greek historiography through the lens of the Byzantine Histories of Laonikos Chalkokondyles, who fastened onto the device of the anachronic, proleptic future in Herodotus and Thucydides to license his apparently anachronistic device of writing in the language and persona of both, eighteen centuries after they wrote. In Laonikos’ account, his narrative is part of the future of ‘Greek’ history anticipated by Herodotus and Thucydides. Laonikos’ clever assimilation of Herodotus and Thucydides sheds new light on Thucydides’ own reduplication of himself to project an authorial and textual future. This strong, anachronic move has made Thucydides’ work assimilable by future readers and also opened up the work to the contingencies of reception, with its potential for anachronism.", "license": "OUP standard", "cited_by": 13, "n_refs": 42, "refs_to_crj": 0, "funder": [], "n": 224 }, { "doi": "10.1093/crj/clz021", "year": 2020, "vol": "12", "issue": "1", "title": "Introduction", "authors": [ { "name": "Mathura Umachandran", "family": "Umachandran", "orcid": null, "affil": [] }, { "name": "Tim Rood", "family": "Rood", "orcid": null, "affil": [] } ], "abstract": null, "license": "OUP standard", "cited_by": 4, "n_refs": 24, "refs_to_crj": 0, "funder": [], "n": 225 }, { "doi": "10.1093/crj/clz022", "year": 2020, "vol": "12", "issue": "1", "title": "Post-apocalyptic humanism in Hesiod, Mary Shelley, and Olaf Stapledon", "authors": [ { "name": "Mark Payne", "family": "Payne", "orcid": null, "affil": [] } ], "abstract": "This paper considers the role of anachronism in large scale narratives of speculative fiction. Mary Shelley's The Last Man and Olaf Stapledon's Last and First Men signal in their titles an ambition to deal with humankind totally and all inclusively. Both authors look to Hesiod as a model for their projects: the Greek poet's account of successive creations and destructions of humankind at the hands of the gods offers a way of narrating human being as both a local cosmic occurrence that has been and one day will be no longer, and as a life form that has persisted with distinctive orientations and commitments through its various local incarnations. The question of anachronism is thus given maximum scope. Rather than a question about accuracy in the representation of local historical details, anachronism emerges as an interrogation of what we recognize and acknowledge as ourselves in the horizon of deep time.", "license": "OUP standard", "cited_by": 3, "n_refs": 33, "refs_to_crj": 0, "funder": [], "n": 226 }, { "doi": "10.1093/crj/clz023", "year": 2020, "vol": "12", "issue": "1", "title": "Plato’s queer time: dialogic moments in the life and death of Socrates", "authors": [ { "name": "Carol Atack", "family": "Atack", "orcid": "https://orcid.org/0000-0001-9125-5436", "affil": [ "Newnham College, Cambridge, UK" ] } ], "abstract": "Critics, from Athenaeus in the second century CE and Eduard Zeller in the nineteenth, to the present day, have been concerned with problems of authenticity and the dating of Plato’s work, including the inconsistent internal dramatic dates of the dialogues and other anachronisms within them. This article examines the relationship between the imaginary time of the dialogues and Plato’s own context, between the blurring of time and temporal relationships in the dialogues and the arguments that they contain, the construction of anachronistic communities and genealogies within them, through which Plato negotiates his own relationship with Socrates, and the deconstruction and re-negotiation of familial relationships, particularly those between fathers and sons. It uses insights from recent explorations of temporality in queer theory to generate a historicist reading that emphasizes the affective role of time within Plato’s writing. It argues that Plato uses the temporal setting of dialogues to underscore themes of their arguments, and that these anachronic settings can be read as an artefact of Plato’s own reception of Socrates’ life and death, and its context in the turmoil of the Peloponnesian War and the loss and restoration of democracy.", "license": "OUP standard", "cited_by": 23, "n_refs": 79, "refs_to_crj": 0, "funder": [ "Leverhulme Trust", "Anachronism and Antiquity project", "University of Oxford", "Florida State University" ], "n": 227 }, { "doi": "10.1093/crj/clz024", "year": 2020, "vol": "12", "issue": "1", "title": "Unapprehended relations", "authors": [ { "name": "Tom Phillips", "family": "Phillips", "orcid": null, "affil": [ "Department of Classics, Ancient History, Archaeology, and Egyptology, S2.8 Samuel Alexander Building, University of Manchester, Manchester, UK" ] } ], "abstract": "This article addresses P.B. Shelley’s ‘Hymn to Mercury’ and allusions to classical literature in ‘Ode to Liberty’. Congruities emerge between Shelley’s poetic practice, his conception of poetry’s social role, and his understanding of the relationship between antiquity and the present. When translating and reshaping ancient Greek poetry, he brings to the surface morally significant features of that poetry which only emerge in the dialogues that his writing creates. In doing so, he enacts literary history as a process that both reflects and enables expansions of the moral imagination.", "license": "OUP standard", "cited_by": 2, "n_refs": 34, "refs_to_crj": 1, "funder": [ "Leverhulme Trust" ], "n": 228 }, { "doi": "10.1093/crj/clz025", "year": 2020, "vol": "12", "issue": "1", "title": "‘For Time is / nothing if not amenable’ — exemplarity, time, reception", "authors": [ { "name": "Constanze Güthenke", "family": "Güthenke", "orcid": null, "affil": [ "University of Oxford, and Corpus Christi College, Oxford, UK" ] } ], "abstract": "This article revisits exemplarity as a strategy of approaching, reading, and using the past. By going beyond treating it mostly as a historical phenomenon, in terms of its use as a purely pre-modern rhetorical trope connected to historical and ethical writings in the Greek and Roman world, I suggest that exemplarity has critical potential to make us reconsider its ability to break through temporalities in a calculated and sceptical way. As such, it offers a provocation to Reception Studies to engage with exemplarity both in and as a more deliberate and strategic manner.", "license": "OUP standard", "cited_by": 4, "n_refs": 28, "refs_to_crj": 1, "funder": [], "n": 229 }, { "doi": "10.1093/crj/clz027", "year": 2020, "vol": "12", "issue": "1", "title": "At the end of the line: on kairological history", "authors": [ { "name": "Brooke Holmes", "family": "Holmes", "orcid": null, "affil": [ "Department of Classics, Princeton University, 141 E. Pyne, Princeton, NJ, USA" ] } ], "abstract": "This essay examines, from a position within Classics, different angles on critiques of historicism and the turn to anachronism in History, Art History, Medieval Studies, and Queer Theory before proposing the idea of ‘kairological history’, on the model of the artist Paul Chan’s ‘kairological art’. On this analysis, ‘kairological history’ engages the critical and creative resources of anachronic thinking alongside tools of historicism (e.g. empiricism, successionism, periodization, alterity) in making choices about ‘telling time’. These choices reflect a critical understanding of how temporality shapes the valuation of the past, particularly in relation to a ‘classical’ past; the negotiation of identity and difference between past and present; and the kinds of communities that history aims to support. The second half of the essay examines two instances of anachronism within the history of anatomy, one from Galen and one from the early twenty-first century. Both cases represent problems that historicism can correct. But the modality of correction, in itself, is anaemic and risks the very teleology that linear history is so often faulted for. The essay therefore explores what gets lost and what gets found when temporality is aligned with linearity, as well as non-linear modes of telling time.", "license": "OUP standard", "cited_by": 17, "n_refs": 79, "refs_to_crj": 0, "funder": [], "n": 230 }, { "doi": "10.1093/crj/clz028", "year": 2020, "vol": "12", "issue": "2", "title": "Ovid’s debut in Chinese: translating the Ars amatoria into the Republican discourse of love", "authors": [ { "name": "Xinyao Xiao", "family": "Xiao", "orcid": null, "affil": [] }, { "name": "Yumiao Bao", "family": "Bao", "orcid": null, "affil": [] } ], "abstract": "The first complete Chinese translation of Ovid’s poem was Dai Wangshu’s (1905–50) 1929 Ai jing (Ars amatoria). Dai, as translator-cum-publisher, produced a serious translation with thorough footnotes and a scholarly preface (later added). Yet in a newspaper advertisement, he also marketed the book in sensational language as a pragmatic love manual that could help Chinese ‘men and women of sentiment’ master the art of courting. Focusing on Dai’s seemingly conflicting marketing approaches, this article locates the production and reception of Dai’s translation of the Ars amatoria in its socio-cultural and ideological contexts. Dai adapted his Chinese Ars amatoria to an emerging Chinese discourse of love in the 1920s, when love remained at the centre of many literary, social, and political debates. It also further demonstrates how Ovid’s Ars amatoria, in Dai’s translation, animated sustained discussions of love, marriage, and gender in China in the early 1930s. Re-interpreted and re-appropriated, a classic Latin text extended Republican China’s quest for modernization and Westernization to the most intimate realms of ordinary experience.", "license": "OUP standard", "cited_by": 1, "n_refs": 32, "refs_to_crj": 0, "funder": [ "Fundamental Research Funds", "Central Universities", "Zhejiang University", "Major Grant of China’s National Social Science Fund", "Translating the Complete Corpus of Ovid’s Poetry into Chinese with Commentaries" ], "n": 231 }, { "doi": "10.1093/crj/clz029", "year": 2020, "vol": "12", "issue": "2", "title": "The schoolboys’ revenge: how the golden line entered classical scholarship", "authors": [ { "name": "Kenneth Mayer", "family": "Mayer", "orcid": "https://orcid.org/0000-0002-3502-0592", "affil": [] } ], "abstract": "The golden line, a Latin versification exercise in British classrooms since at least 1612, appears to have no basis in the classical tradition. It was resisted by the academy for decades — if not centuries. Then, as Latin versification ceded its central role in schools and universities, resistance withered. New generations of scholars had never encountered the golden line as a composition exercise, and they saw instead the golden line as a critical tool for interpreting Latin poetry. After the 1950s, the golden line spread to Italy, Spain, Belgium, Germany, France, and beyond. A classroom exercise helped shape scholarship worldwide. Yet the golden line is an even more striking example of scholarship from below, because it thrived due to its documented appeal to the students who identified and composed them. From the 1600s until today, students have expressed pride and joy in identifying and composing golden lines. Student preferences often shape pedagogical canons and classroom practice, but the golden line went still further. Today, Latinists worldwide analyse poets of the classical canon by counting and discussing their golden lines. Student preferences for a school exercise have changed not only pedagogy but scholarly practice.", "license": "OUP standard", "cited_by": 5, "n_refs": 196, "refs_to_crj": 0, "funder": [], "n": 232 }, { "doi": "10.1093/crj/claa001", "year": 2020, "vol": "12", "issue": "3", "title": "Erratum to: Framing Lars von Trier’s Medea", "authors": [ { "name": "Zina Giannopoulou", "family": "Giannopoulou", "orcid": null, "affil": [] } ], "abstract": null, "license": "OUP standard", "cited_by": 0, "n_refs": 0, "refs_to_crj": 0, "funder": [], "n": 233 }, { "doi": "10.1093/crj/claa002", "year": 2020, "vol": "12", "issue": "3", "title": "Contemporary Mythopoiesis: the role of Herodotus in Neil Gaiman’s American Gods", "authors": [ { "name": "Vanda Zajko", "family": "Zajko", "orcid": null, "affil": [] } ], "abstract": "This article explores Neil Gaiman’s transmedial work American Gods as an example of contemporary mythmaking. Published in novel form in 2001 and launched as a television series in 2017, American Gods provides a commentary on the connectedness between different systems of stories and on myth itself as a vital present-day cultural form. It also provides us with a model for repurposing ancient material without reproducing the traditional hierarchies associated with cultures of storytelling. Gaiman’s text is an interesting case-study from the perspective of classical reception because he sidelines the ancient Greek gods in the main body of his story, while simultaneously positioning the ancient historian Herodotus as a significant intertext. The process of evaluating different cultures often veers between analyses which focus on similarities manifested across place and time and those which espouse a form of cultural relativism, a ‘live and let live’ philosophy. Gaiman seems to be offering something else here, namely a more vital and connected model for co-existence, one which is moving towards a pluri-versal perspective that acknowledges the links between political power, knowledge, and identity.", "license": "OUP standard", "cited_by": 3, "n_refs": 47, "refs_to_crj": 2, "funder": [], "n": 234 }, { "doi": "10.1093/crj/claa003", "year": 2020, "vol": "12", "issue": "3", "title": "Phạm Duy Khiêm, classical reception, and colonial subversion in early 20th century Vietnam and France", "authors": [ { "name": "Kelly Nguyen", "family": "Nguyen", "orcid": null, "affil": [] } ], "abstract": "The tradition of the Vietnamese reception of classical literature has not yet been examined, and this article is the first to venture into this intersection between Classics and Vietnamese studies. In this article, I focus on Phạm Duy Khiêm (1908–74) and his use of Classics to translate and mediate his Vietnamese heritage to his French audience. Phạm lived during a particularly turbulent time in Vietnamese history: he experienced Vietnam as a French protectorate called Annam, he witnessed his compatriots defy French rule and win independence for Vietnam, and he saw the civil war that challenged that new independence. Throughout these changing political contexts, Phạm navigated the politics of polarity that separated the colonizer from the colonized as he struggled to make sense of these supposedly irreconcilable differences between the two, which contested his own intercultural identity. In this article, I argue that Phạm used his classical education and its cultural capital not only to explain Vietnamese culture to his French audience, but also to elevate it as equal, and perhaps even superior, to that of the French and their supposed classical inheritance.", "license": "OUP standard", "cited_by": 3, "n_refs": 48, "refs_to_crj": 1, "funder": [], "n": 235 }, { "doi": "10.1093/crj/clz030", "year": 2020, "vol": "12", "issue": "3", "title": "Tradition in transformation: the classical curriculum in the colonial and early national American college", "authors": [ { "name": "Gary F Fisher", "family": "Fisher", "orcid": null, "affil": [] } ], "abstract": "Narratives of decline dominate histories of classical education. Changes or developments in the way classics have been taught are commonly understood in terms of the supposedly inexorable decline of classical learning. The American colleges at the end of the eighteenth century are subject to the same interpretation. After the Revolution, the colleges and their classics-oriented curriculum were subject to new pressures to reform the education they offered to better reflect the values of the new nation. These calls for reform are commonly understood as attacks on the classics that sought to diminish their role in, or even remove them from, the college curriculum. This essay will subject materials such as entrance requirements, curricula, and reformist literature to a critical re-reading. Rather than examining the extent to which the position of the classics diminished relative to other subjects during this period, it will show how the content of the classical curriculum was reformed and refined to better realize its pedagogical potential and ensure its relevance to the changing needs of students.", "license": "OUP standard", "cited_by": 0, "n_refs": 56, "refs_to_crj": 0, "funder": [], "n": 236 }, { "doi": "10.1093/crj/clz031", "year": 2020, "vol": "12", "issue": "3", "title": "Early modern receptions of Iphigenia at Aulis", "authors": [ { "name": "Robert S Miola", "family": "Miola", "orcid": null, "affil": [] } ], "abstract": "The sacrifice of Iphigenia, appearing influentially in Euripides’ Iphigenia at Aulis, assumes various forms in early modern translation, reading, and adaptation. Early modern receptions variously constrict, domesticate, Romanize, and Christianize the story. Publication in Latin, especially in Erasmus’ translation (1506) transposes Greek linguistic and cultural referents to later hermeneutics, rendering mysterious ancient elements into familiar Roman analogues — Stoic ideals, fortuna, prudentia, and the like. Caspar Stiblin’s Latin translation (1562) and Gabriel Harvey’s copious marginalia in his copy of Erasmus’ translation show that constriction and domestication often take the form of fragmentation of the text into sententiae, or wise sayings. The search for rhetorical figures, political maxims, or moral lessons generates many Christian applications and culminates in Buchanan’s biblical reworking of Iphigenia’s story in Jephthes, wherein Artemis gives way to the Judaeo-Christian god and Iphigenia, here Iphis, becomes a type of Christ. The Vernacular Adaptations of Jane Lumley, Jean Racine, and Abel Boyer continue to dismantle the heroic ethos of Euripides play and re-imagine the story: Achilles dwindles into a romantic lead, Agamemnon, into a vicious ruler and father, and Iphigenia becomes a pious and submissive daughter.", "license": "OUP standard", "cited_by": 5, "n_refs": 45, "refs_to_crj": 0, "funder": [], "n": 237 }, { "doi": "10.1093/crj/clz032", "year": 2020, "vol": "12", "issue": "3", "title": "Framing Lars von Trier’s Medea", "authors": [ { "name": "Zina Giannopoulou", "family": "Giannopoulou", "orcid": null, "affil": [] } ], "abstract": "Lars von Trier’s Medea renders on the silver screen Carl Th. Dreyer’s unrealized script from Euripides’ play. Von Trier considers Dreyer one of his greatest cinematic influences and fashions his film as a ‘personal interpretation and homage to the master’. Two prominent narrative features of Dreyer’s cinematic oeuvre are a cause/effect logic and parallelism, which create formally rigid and closed worlds governed by an abstract, impersonal order. Von Trier applies these features especially to the frame of Medea in order to enhance the theodicy of Euripides’ tragedy and Dreyer’s adaptation of it. He also plays games of cinematic reflexivity in conscious or unconscious competition with Dreyer. Finally, his directorial virtuosity manifests itself most spectacularly in the editing of the film’s frame, which arranges the segments of the prologue and the epilogue so as to engage reception as a temporal activity rooted in the past, undertaken in the present, and directed to the future.", "license": "OUP standard", "cited_by": 0, "n_refs": 64, "refs_to_crj": 0, "funder": [], "n": 238 }, { "doi": "10.1093/crj/clz033", "year": 2020, "vol": "12", "issue": "3", "title": "Reception Theory, New Humanism, and T. S. Eliot", "authors": [ { "name": "Matthew Hiscock", "family": "Hiscock", "orcid": null, "affil": [] } ], "abstract": "T. S. Eliot has been a major, if challenging, figure for students of reception and the Classical Tradition, and is implicated in an important debate on historicist versus aestheticist models of reception study. This article challenges assumptions about his position on, and practice of, reception. The politics implicit in theorists’ references to Eliot is teased out, and the position he took in response to inter-war New Humanism is shown to be predominantly historicist. An analysis of The Family Reunion (1939) then suggests that the Modernist-poetic approach he therefore took to the Oresteia broke so decisively with existing models of reception as to have called the fact of reception into question. The play is also shown to build on H.D.’s experiments in translation and to respond to Aeschylean receptions by Robinson Jeffers and Eugene O’Neill. It is further suggested that it anticipates several aspects of recent Reception Theory.", "license": "OUP standard", "cited_by": 0, "n_refs": 58, "refs_to_crj": 3, "funder": [], "n": 239 }, { "doi": "10.1093/crj/claa004", "year": 2020, "vol": "12", "issue": "4", "title": "Collective memory and Spanish cultural politics: the revival of the Roman theatre of Merida (1910–35)", "authors": [ { "name": "Vasileios Balaskas", "family": "Balaskas", "orcid": "https://orcid.org/0000-0003-2537-0414", "affil": [ "Adrianothyron Street, 13, Dafni-Ymittos 17237, Athens, Greece" ] } ], "abstract": "In the twentieth century, ancient theatres acquired symbolic values through their excavation, restoration, and cultural reuse. While elsewhere in the Mediterranean comparable cases show an early and powerful engagement of a populace with their antiquities, in Spain national ideals did not automatically engage with classical culture. In the case of the Roman theatre of Merida, cultural and historical realities dictated a series of cultural events that repeatedly concerned collective memory. In addition to the main sequence of the unique occasions surrounding the 1933 and 1934 performances at the theatre, various other agencies had systematically focused on its exploitation from the 1910s. These initiatives were endorsed by numerous formal visits and cultural events that took place in the theatre, from as early as 1914. Through successive spectacles staged at the theatre, a cultural tradition emerged, while political agendas occasionally exploited its increasing popularity, right up to the Spanish Civil War.", "license": "OUP standard", "cited_by": 1, "n_refs": 54, "refs_to_crj": 2, "funder": [ "Hellenic Foundation for Research and Innovation", "HFRI" ], "n": 240 }, { "doi": "10.1093/crj/claa006", "year": 2020, "vol": "12", "issue": "4", "title": "The cruelest harvest: Virgilian agricultural pessimism in the poetry of the Brazilian colonial period", "authors": [ { "name": "Adriana Vazquez", "family": "Vazquez", "orcid": null, "affil": [ "Department of Classics, University of California, Los Angeles, 405 Hilgard Avenue, 100 Dodd Hall, Los Angeles, CA 90095-1417, USA" ] } ], "abstract": "Classical imagery and mythological narratives provided ready literary analogues for framing European expansion into the New World in the colonial and early modern periods. This article examines the manipulation of classical images of agricultural fecundity and Virgilian pessimism in select works of two Brazilian poets working in the neoclassical tradition during the colonial period, José Basílio da Gama (1740–95) and Inácio José de Alvarenga Peixoto (1744–93), by which both poets advance a critique of Iberian expansion into Latin America. I argue that both poets, writing in dialogue with one another, activate an especially Virgilian agricultural imagery that sets war in contradiction to agricultural production in a post-colonial critique of European imperialist expansion into Brazil. The poetry of these figures exhibits a remarkable reversal of sympathies that distinguishes South American treatment of ancient material from that of European receptions that aligned imperial Europe with the Roman empire and its traditional heroes, a comparison established in order to justify colonialist expansion into the New World.", "license": "OUP standard", "cited_by": 1, "n_refs": 75, "refs_to_crj": 1, "funder": [], "n": 241 }, { "doi": "10.1093/crj/claa007", "year": 2020, "vol": "12", "issue": "4", "title": "Aural philology: Herder hears Homer singing", "authors": [ { "name": "Tanvi Solanki", "family": "Solanki", "orcid": "https://orcid.org/0000-0001-8367-3371", "affil": [] } ], "abstract": "In 1769, Johann Gottfried Herder describes a private reading experience of a remarkably paradoxical nature. He tells us that he can only read ‘his’ Homer properly when he hears Homer singing Greek, while silently reading and translating by means of his German thoughts and mother tongue. Herder’s performative reading is anchored in what I call aural philology, a method innovative in its emphasis on the aural dimension in reconstructively imagining historical epochs. It is one which demarcates cultural difference through practices of listening and their remediation into reading. The problem, for Herder, is how to constitute the particularity of the German people even in affective acts of reading that, however momentarily, suspend cultural differentiation through effects of presence. I distinguish Herder’s philology from Vico and others who emphasized the oral origins of the Homeric epic, along with recent theories of philology as an affective, aurally mediated process. The article is an alternative view on the role of media in enlightenment theories of literature and culture separate from Friedrich Kittler’s Discourse Networks 1800/1900. Herder’s aural philology identifies a moment in the history of aurality and cultural difference, one that does not move fixedly towards modernity.", "license": "OUP standard", "cited_by": 1, "n_refs": 84, "refs_to_crj": 0, "funder": [ "Yonsei University Future-Leading Research Initiative of 2018-9" ], "n": 242 }, { "doi": "10.1093/crj/claa009", "year": 2020, "vol": "12", "issue": "4", "title": "Why does classical reception need disability studies?", "authors": [ { "name": "Hannah Silverblank", "family": "Silverblank", "orcid": null, "affil": [ "Haverford College" ] }, { "name": "Marchella Ward", "family": "Ward", "orcid": null, "affil": [ "Worcester College" ] } ], "abstract": "Many of the ableist tropes around disability and disabled people in the modern world find their antecedents in ancient mythology and its reception, but the seemingly ‘traditional’ nature of these harmful tropes and reflexes of storytelling is not established by accident or in the absence of readers. We argue here that classical reception needs to look to disability studies for a methodology that will allow the field to begin to theorize the role of the reader in the perpetuation of the ideology of ableism and ideas of bodily normativity. The field of classical reception studies engages in the process of investigating how the ‘traditional’ comes to be accepted as pre-existing; as such, it is vital that classical reception look to disability studies for the tools with which to lay bare the ways in which the apparatus of ableism comes to seem traditional. This article sets out some strategies for bringing classical reception and disability studies together with the aim of developing a more critical philology, an ethically-invested method for doing classical reception, and the theoretical and practical tools to create a more inclusive field. In short, this article makes the case for ‘cripping’ classical reception studies.", "license": "OUP standard", "cited_by": 4, "n_refs": 60, "refs_to_crj": 0, "funder": [], "n": 243 }, { "doi": "10.1093/crj/claa012", "year": 2020, "vol": "12", "issue": "4", "title": "Medea is a Good Boy: performing, subverting, and unmasking tragic gender", "authors": [ { "name": "Oliver Baldwin", "family": "Baldwin", "orcid": null, "affil": [] } ], "abstract": "In 1981, the Spanish playwright Luis Riaza published the play Medea es un buen chico (Medea is a Good Boy). In it, two male actors perform the main roles of Medea and the Nurse, who comment, with references to other fictional love stories, on the relationship between Medea and Jason. When Jason fails to arrive, the fiction is dismantled, revealing Medea’s identity as Jason’s rejected homosexual lover. Medea es un buen chico mixes elements of performativity, meta-theatricality, and myth in order to explore the limits of gender, sexuality, and the perceived social roles and norms they entail. This article explores how Riaza theatrically reflects on the social performativity of gender through the tragic character and story of Medea, her performance and subversion of her own gendered self, and her eventual rejection and social displacement.", "license": "OUP standard", "cited_by": 0, "n_refs": 37, "refs_to_crj": 0, "funder": [], "n": 244 }, { "doi": "10.1093/crj/claa013", "year": 2020, "vol": "12", "issue": "4", "title": "Thoreau’s luminous Homer in A Week on the Concord and Merrimack Rivers", "authors": [ { "name": "Luke Parker", "family": "Parker", "orcid": null, "affil": [] } ], "abstract": "Henry David Thoreau’s relationship to Greek literature, and Homer’s Iliad in particular, is more often remarked than analysed. This article argues that Thoreau’s engagement with Homer in his first book, A Week on the Concord and Merrimack Rivers, proves central to the themes of that work highlighted by critics as well as its less-studied formal hybrid of poetry and prose. I show that Thoreau constructs Homer as the poetic ideal in which the perennially renewed life of the natural world becomes accessible to human beings caught in the fatal and unidirectional movement of historical time. Thoreau’s ideas here may track Romantic conceptions of Homer and Greek literature more generally, but Thoreau turns contemporary uncertainty around the person of Homer into reflection on the relationship between personal experience and literary expression of ‘living nature’. This turns out to structure a larger dichotomy between poetry and prose, one in which Thoreau associates the latter with authentic experience and self-expression of an individual human life. In A Week’s engagement with Homer, then, we see Thoreau negotiating not only some core concerns of his writing but also his evolution from aspiring poet to author of the works in prose that ultimately define his career.", "license": "OUP standard", "cited_by": 0, "n_refs": 35, "refs_to_crj": 1, "funder": [], "n": 245 }, { "doi": "10.1093/crj/claa025", "year": 2020, "vol": "12", "issue": "4", "title": "Corrigendum to: Aural Philology: Herder Hears Homer Singing", "authors": [], "abstract": null, "license": "OUP standard", "cited_by": 0, "n_refs": 0, "refs_to_crj": 0, "funder": [], "n": 246 }, { "doi": "10.1093/crj/claa005", "year": 2020, "vol": "13", "issue": "2", "title": "The Spectacle of Helen in Euripides’ Helen and Marlowe’s Doctor Faustus", "authors": [ { "name": "Dustin W. Dixon", "family": "Dixon", "orcid": null, "affil": [] }, { "name": "John S. Garrison", "family": "Garrison", "orcid": "https://orcid.org/0000-0002-9357-055X", "affil": [] } ], "abstract": "This essay traces a line of thought through post-Homeric receptions of Helen, taking as its primary case studies Euripides’ Helen and Christopher Marlowe’s Doctor Faustus. Both plays feature Helen as a figure for articulating the phenomenological challenges that audiences face when viewing mimetic art on the stage. This essay argues that these profoundly metatheatrical plays use scenes of characters’ seeing the distinctive beauty of Helen to compare the power of theatrical spectacle to witnessing the supernatural.", "license": "OUP standard", "cited_by": 2, "n_refs": 70, "refs_to_crj": 3, "funder": [], "n": 247 }, { "doi": "10.1093/crj/claa008", "year": 2020, "vol": "13", "issue": "2", "title": "Thomas Carlyle and Stoicism", "authors": [ { "name": "Alexander Jordan", "family": "Jordan", "orcid": null, "affil": [] } ], "abstract": "Recent studies have pointed to the importance of Thomas Carlyle’s engagement with classical thought, especially Epicureanism and Cynicism. However, in these recent studies, Carlyle’s debts to Stoicism have received only passing attention. Previous scholars hardly considered the question at all, and those who did argued that Carlyle could never have accepted the passive withdrawal and indifference of the Stoics. By way of corrective, the current article offers a comprehensive account of Carlyle’s engagement with Stoicism, showing that he subscribed to an active interpretation of the latter that emphasized will, duty, and heroic action. Indeed, contemporaries were well aware of Carlyle’s debts to Stoicism, pointing out that his thought stood in stark contradiction to Christian doctrines of original sin. Thus, while Carlyle’s Stoicism was compatible with his hereditary Calvinism insofar as divine providence and duty were concerned, there was a significant contradiction regarding the question of sin. In this sense, Carlyle’s Stoicism made an important contribution to the ‘meliorist’ revolt against orthodox Christianity.", "license": "OUP standard", "cited_by": 0, "n_refs": 136, "refs_to_crj": 0, "funder": [], "n": 248 }, { "doi": "10.1093/crj/claa010", "year": 2020, "vol": "13", "issue": "2", "title": "Epic Regained: Phillis Wheatley’s Admonitory Poetics in the ‘Little Columbiad’", "authors": [ { "name": "Pasquale S Toscano", "family": "Toscano", "orcid": null, "affil": [] } ], "abstract": "Although many scholars have discussed Phillis Wheatley’s subversive appropriation of the classics, they have been reluctant to locate a similar strain of subtle repudiation in her Revolutionary War poems. The present article reexamines these verses — ‘To His Excellency General Washington’ (1775), ‘On the Capture of General Lee’ (1776), and ‘On the Death of General Wooster’ (1778) — in light of the tradition of (neo)classical heroic poetry. I read them as a formally innovative epic, dispersed across three apparently ‘patriotic lyrics’ (Levernier (1993: 175)) and dubbed the ‘Little Columbiad’ for their personification of America. Wheatley signals that the triptych should be read as far more than a trio of occasional poems. She not only evokes elements of the epic tradition but also obfuscates the Lucanic heart of her piece within a Virgilian body. This deft juxtaposition of disparate epic registers and forms allows the poet to reprove revolutionary generals, comment upon the war, and decry a movement committed both to liberty and to slavery’s perpetuation. In playing the part of epic admonisher, Wheatley likewise spotlights the genre’s tendency to expose and dissect the flaws of leaders in even its most laudatory iterations. The ‘Little Columbiad’ therefore gives us an important opportunity to reevaluate its author’s pivotal position in the history of North American heroic poetry and epic reception, as well as to nuance regnant paradigms of the genre itself.", "license": "OUP standard", "cited_by": 5, "n_refs": 112, "refs_to_crj": 1, "funder": [], "n": 249 }, { "doi": "10.1093/crj/claa011", "year": 2020, "vol": "13", "issue": "2", "title": "Ravenna on the Grand Tour: A View of Late Antiquity in the Eighteenth Century", "authors": [ { "name": "Brittany Thomas", "family": "Thomas", "orcid": null, "affil": [] } ], "abstract": "Ravenna, the former grand capital of the late Roman and early Byzantine Empires and a popular modern UNESCO World Heritage site, is a city rarely included in major historical surveys of Italy during the Grand Tour. An exploration of period sources may reveal why: it was, for many centuries between the Middle Ages and the nineteenth century, a rundown parish town that was incredibly difficult to reach by conventional transportation. This article collates and deconstructs a number of Grand Tour sources in order to gain an understanding of Ravenna in the eighteenth century, and, further, an understanding of the contemporary attitudes towards post-Classical monuments and artwork. This exploration allows us to ask broader questions about Ravenna’s place on the Grand Tour. As a city with very little to offer in the way of Classical monuments, it slightly complicates our idea of classical reception on the Grand Tour and shows us how travellers navigated a place replete with late antique basilicas and Byzantine mosaics instead of marble sculptures and tombs.", "license": "OUP standard", "cited_by": 0, "n_refs": 33, "refs_to_crj": 0, "funder": [], "n": 250 }, { "doi": "10.1093/crj/claa015", "year": 2020, "vol": "13", "issue": "2", "title": "As Nature Formed It: Venus Sculptures and the ‘Natural’ Waistline in Dress Reform Discourse", "authors": [ { "name": "Hallie M Franks", "family": "Franks", "orcid": null, "affil": [] } ], "abstract": "In the second half of the nineteenth century, ancient sculptures of Venus became models for the ‘natural’ waistline. Drawings of the Venus de Medici or de Milo were popular in texts published by American dress reformers, who advocated for the rejection of corsets and tight-lacing. This article takes as its subject these drawings and their simultaneous signification of multiple bodies: a specific sculpture, an idealized form, the ‘natural’ form of any female torso, and the supposedly superior physicality of the ancient Greeks. It argues that the elision of these various bodies is facilitated by the treatment of ancient sculptures as ‘truth-to-nature’ representations — images that are simultaneously ideal and faithful to the form produced by nature. This understanding is encouraged by drawings of the statues, which imply the comparability of sculpture and body. In this way, the sculptures enter dress reform discourse, serving as both a faithful representative of a now-lost ancient body and a kind of visual lexicon by which living women might revive ancient aesthetic and moral perfection. As constructions of aspirational physical ideals, the sculptures and the drawings of Venus are enlisted in a developing and deeply charged visualization of white American womanhood.", "license": "OUP standard", "cited_by": 1, "n_refs": 38, "refs_to_crj": 0, "funder": [], "n": 251 }, { "doi": "10.1093/crj/claa030", "year": 2020, "vol": "13", "issue": "2", "title": "Bodily Abjection and the Politics of Resistance in Tom Paulin’s Greek Tragedies", "authors": [ { "name": "Isabelle Torrance", "family": "Torrance", "orcid": null, "affil": [] } ], "abstract": "Tom Paulin’s Greek tragedies present extremes of bodily abjection in order to service of a politics of resistance that is tied, in each case, to the political context of the drama’s production. The Riot Act (1984), Seize the Fire (1989), and Medea (2010), share a focus on the degradation of oppressed political groups and feature characters who destabilize the status quo. Yet the impact of disruptive political actions is not ultimately made clear. We are left wondering at the conclusion of each tragedy if the momentous acts of defiance we have witnessed have any power to create systemic change within politically rigged systems. The two 1980s plays are discussed together and form a sequence, with The Riot Act overtly addressing the Northern Irish conflict and Seize the Fire encompassing a broader sweep of oppressive regimes. The politics of discrimination in Medea are illuminated by comparison with similar themes in Paulin’s Love’s Bonfire (2010). Unlike other Northern Irish adaptations of Greek tragedy, Paulin’s dramas, arrested in their political moments, present little hope for the immediate future. Yet in asking us to consider if individual sacrifice is enough to achieve radical change they maintain an open channel for political discourse.", "license": "OUP standard", "cited_by": 0, "n_refs": 61, "refs_to_crj": 0, "funder": [], "n": 252 }, { "doi": "10.1093/crj/claa014", "year": 2020, "vol": "13", "issue": "3", "title": "Pyrrhonian Scepticism in Thomas Elyot's Defence of Good Women (1540)", "authors": [ { "name": "Kosta Gligorijevic", "family": "Gligorijevic", "orcid": null, "affil": [] } ], "abstract": "This article discusses the first known mention of Pyrrhonian Scepticism in the English language, which occurs in Thomas Elyot’s 1540 Defence of Good Women. The article inquires into the sources of Elyot’s knowledge of Pyrrhonism and into his motivations for mentioning Pyrrhonists in a text on the social and political status of women. I conclude that, on the balance of evidence, the most likely source of Elyot’s ideas on Pyrrhonism is Galen’s De Temperamentis. Furthermore, I argue that the rejection of a straw man version of Pyrrhonism serves as a tool of authorial positioning for Elyot, and in particular as a means of reassuring his reader that the Defence is not intended ironically. Elyot chooses Pyrrhonism as a philosophical position representing bad faith arguments, and he likely does so because of the hostile treatment of Pyrrhonism in Galen’s works, and especially in De Temperamentis.", "license": "OUP standard", "cited_by": 0, "n_refs": 51, "refs_to_crj": 0, "funder": [ "Social Sciences and Humanities Research Council of Canada" ], "n": 253 }, { "doi": "10.1093/crj/claa016", "year": 2020, "vol": "13", "issue": "3", "title": "American Archias: Cicero and The Souls of Black Folk", "authors": [ { "name": "David Withun", "family": "Withun", "orcid": null, "affil": [] } ], "abstract": "While scholars have long noted the classical influences apparent in the style and thought of W. E. B. Du Bois, there has been little sustained discussion of the nature of these influences and their manifestations in his writings. This article seeks to correct that absence through an examination of the influence of Cicero’s Pro Archia poeta on Du Bois’s most well-known work, The Souls of Black Folk. Though Du Bois mentions many other authors in Souls, the Pro Archia is the only work of another author mentioned by name as a source for Du Bois’s thought. Extrapolating from this explicit reference to the Pro Archia as well as numerous other references to and influences by Cicero’s works throughout Du Bois’s oeuvre, I posit a two-fold influence of the Pro Archia on Souls as Du Bois draws upon the dual argument in Cicero’s work. First, Du Bois seeks to defend the civil rights of African Americans, drawing on Cicero’s argument for the legal status and citizenship rights of the poet Archias. Both Cicero and Du Bois go beyond mere legal argumentation, however, to provide a defence of the necessity of the liberal arts and a celebration of poets and their work.", "license": "OUP standard", "cited_by": 1, "n_refs": 40, "refs_to_crj": 0, "funder": [], "n": 254 }, { "doi": "10.1093/crj/claa032", "year": 2020, "vol": "13", "issue": "3", "title": "Evangelicalism and Empire: Rudyard Kipling on the Roman Cult of Mithras and Christianization", "authors": [ { "name": "David Walsh*", "family": "Walsh*", "orcid": null, "affil": [] } ], "abstract": "Among the works of Rudyard Kipling, there are several short stories set in the Roman World that feature characters who are members of the cult of Mithras. These stories also involve Christian characters, but while the Mithraic initiates are loyal servants of the Roman Empire, the Christians create and attract disorder. The aim of this article is to explore why Kipling chose to make the heroic characters of these stories Mithraic initiates, and present the Christians in a less positive light. It will be argued that Kipling was attacking Christian evangelicals, who he disliked due to his experiences at the hands of one as a child, and also because of the difficult relationship between Christian missionaries and British imperial administrators, especially in the aftermath of the 1857 Indian Mutiny. In contrast, Kipling’s Mithras cult acknowledges that there are ‘many ways to the light’, and, moreover, by inferring that there are many similarities between the cult of Mithras and Christianity, Kipling hoped to urge evangelical Christians to moderate their behaviour and use his depiction of the Mithras cult as an example of how to better approach religious diversity within the Empire.", "license": "OUP standard", "cited_by": 0, "n_refs": 61, "refs_to_crj": 1, "funder": [], "n": 255 }, { "doi": "10.1093/crj/clab001", "year": 2021, "vol": null, "issue": null, "title": "OUP accepted manuscript", "authors": [], "abstract": null, "license": "none stated", "cited_by": 0, "n_refs": 0, "refs_to_crj": 0, "funder": [], "n": 256 }, { "doi": "10.1093/crj/claa017", "year": 2021, "vol": "13", "issue": "1", "title": "Parallel Lives: Shakespeare and the Debate Over Emotional Involvement", "authors": [ { "name": "James Hall", "family": "Hall", "orcid": null, "affil": [] } ], "abstract": "The decades around 1600 saw a Europe-wide vogue for artists, writers, orators, and actors to fully identify with their sitters, subjects, or characters, the practice often being justified with the Horatian dictum, ‘If you want me to cry, mourn first yourself’ (Russell and Winterbottom 1972: 282 [Ars 101]). Among the more extreme manifestations are the young sculptor Gian Lorenzo Bernini, who in 1617 burnt himself while preparing to carve the martyrdom of St Lawrence on a gridiron, and the French actor Montdory, famous for full-throttle mad scenes, who in 1637 suffered a paralytic stroke to the tongue and right arm while acting Herod (Bernini 1713: 15; Bernini 2011: 103; Wiley 1960: 103–6).1 The philosopher and heretic Tommaso Campanella (1568–1639) cited Horace’s dictum in his treatise of rhetoric (Campanella 1954: 751, 763), adding yawning to the roster of expressions — ‘if you want me to yawn, yawn first yourself…’. When Campanella was in the Inquisition’s prison, he became notorious for mimicking people’s physiognomy, sometimes only on the basis of a verbal description, claiming it enabled him to read their mind. He would grimace as he imagined he possessed their features and even hair, so that visitors thought he was suffering the permanent affects of torture, or was insane (Campanella 2007: 116–17; Gaffarel 1629: 266–70). The purpose of this essay is two-fold. I want to historicize this ‘baroque’ fashion, arguing that the rediscovery of Aristotle’s Poetics helped put what I term sympathetic mimicry centre stage. I will also analyse four relevant scenes from Shakespeare — three of which centre on portrait painting — in which the issue of sympathetic mimicry is explored in various ways. I shall argue that Shakespeare exhibited both fascination and scepticism for this classical technique and the raw power it unleashes, and that he particularly associated it with painters.", "license": "OUP standard", "cited_by": 0, "n_refs": 72, "refs_to_crj": 0, "funder": [], "n": 257 }, { "doi": "10.1093/crj/claa018", "year": 2021, "vol": "13", "issue": "1", "title": "Afterword: Bending the Rules", "authors": [ { "name": "Chris Stamatakis", "family": "Stamatakis", "orcid": "https://orcid.org/0000-0001-6880-2366", "affil": [] } ], "abstract": "This afterword to ‘Artes Poeticae: Formations and Transformations, 1500–1650’ surveys some of the organizing themes and questions that bind the various chapters of this special issue of CRJ. Particular attention is paid to the various, arguably evolving, attitudes to rules inherited from or retrospectively sourced in classical antiquity by early modern writers and commentators. The afterword attributes much of the early modern contestation over rules to lexical minutiae in (principally) Aristotelian and Horatian poetics and considers how writers in the period 1500–1650 derive literary-critical capital from those moments when familiar categories and definitions break down.", "license": "OUP standard", "cited_by": 0, "n_refs": 20, "refs_to_crj": 0, "funder": [], "n": 258 }, { "doi": "10.1093/crj/claa019", "year": 2021, "vol": "13", "issue": "1", "title": "Marvels and Commonplaces in the Elizabethan Anthologies", "authors": [ { "name": "Ted Tregear", "family": "Tregear", "orcid": null, "affil": [] } ], "abstract": "In a brief essay on Cato the Younger, Montaigne draws together five excerpts from Latin verse in Cato's honour; by the time he returned to the essay in his final years, those excerpts elicited some of the author's richest remarks on poetry and the poetic sublime. This essay argues that the anthology, in its various shapes and forms, offered early modern readers a way of doing literary criticism. Taking its cue from Montaigne's essay, it focuses on a number of English anthologies, associated with John Bodenham, and often known as the ‘Wits’ series, printed at around the turn of the seventeenth century. It argues that the commonplace-book structure of these volumes acted as a spur to detailed stylistic analysis. Anthologies encouraged their readers to compare poets with one another, working out what they had in common, and what made each one distinct; in this, they fostered the sort of critical scrutiny discussed in Scaliger's Poetics, and put into practice in the theatrical exchanges of the ‘Poets' War’. But as in Montaigne's case, they could also spark reflections about those verses that lay beyond criticism's reach, in the numinous realm of the sublime.", "license": "OUP standard", "cited_by": 0, "n_refs": 43, "refs_to_crj": 0, "funder": [], "n": 259 }, { "doi": "10.1093/crj/claa020", "year": 2021, "vol": "13", "issue": "1", "title": "The Poetics of Comedy in Jacques Peletier Du Mans’s Art poëtique (1555)", "authors": [ { "name": "Lucy Rayfield", "family": "Rayfield", "orcid": null, "affil": [] } ], "abstract": "This article looks at Jacques Peletier du Mans’s (1555) rhetorical and poetic treatise, Art poëtique, with a focus on his theory on comedy. It draws comparisons with Peletier’s 1541 literary treatise, which was the first translation into French of Horace’s Ars Poetica. In his 1555 treatise, Peletier developed Horace’s position on comedy into his own original theory, moulding the classical model to fit within a contemporary context and setting out the ways in which comedy most benefits early modern writers and readers. To create his theory on comedy — which was widely read in France throughout the sixteenth century — Peletier also took inspiration from other classical writers and from Italian theoreticians. Ultimately, this article helps to determine the rhetorical and theoretical position of comedy in France in the mid-sixteenth century, in relation to its classical and Italian counterparts. It also deepens and broadens our understanding of Peletier’s literary theory. Despite being one of the most prominent French literary treatises of the period, Peletier’s approach to comedy has been overlooked in scholarship, and many of his models have not been identified.", "license": "OUP standard", "cited_by": 0, "n_refs": 39, "refs_to_crj": 0, "funder": [], "n": 260 }, { "doi": "10.1093/crj/claa021", "year": 2021, "vol": "13", "issue": "1", "title": "‘Non per instituir altri’? Attitudes to Rule-Following in Sixteenth-Century Poetics", "authors": [ { "name": "Michael Hetherington", "family": "Hetherington", "orcid": "https://orcid.org/0000-0003-1038-4098", "affil": [] } ], "abstract": "Literary historians tend to associate a poetics of rule-following with seventeenth-century neoclassicism, and with the sixteenth-century Italian commentators and theorists on whom the neoclassical critics drew; but thinking about the value and limitations of rules for writing is a pervasive and philosophically distinctive feature of pre-modern poetics more generally. Drawing on texts from different national literatures, on the literary theory of classical antiquity, on reflections on rule-following in non-literary early modern disciplines, and on some of the rich thinking on rules by modern philosophers, this article attempts to identify and describe some of the distinct kinds of rule-making and rule-following that constituted the discipline and practice of poetics in the sixteenth-century. To do so it focuses on three texts: Jodocus Badius Ascensius’ edition of Horace’s Ars poetica (1503), which divides the text up into ‘regulae’; Julius Caesar Scaliger’s Poetices libri septem (1561), which probes the ways in which ancient texts might function as ‘normae’ to which literary practice might be referred; and Samuel Daniels’ Musophilus (1599), which deeply if idiosyncratically meditates on the poet’s obligations and freedoms, and voices a profound scepticism about a literary practice that conforms to rules inherited from prior writers or imposed by critics.", "license": "OUP standard", "cited_by": 2, "n_refs": 78, "refs_to_crj": 0, "funder": [], "n": 261 }, { "doi": "10.1093/crj/claa026", "year": 2021, "vol": "13", "issue": "1", "title": "Exit Pursued by Horace: Bears, Shakespeare, and the Classical Tradition", "authors": [ { "name": "Aaron J Kachuck", "family": "Kachuck", "orcid": "https://orcid.org/0000-0003-3007-8135", "affil": [] } ], "abstract": "This article puts the bear back in Horace, demonstrating the role bears have played from antiquity through the Renaissance as the great disruptor of the classical literary artefact, simplex et unum. The first section of the article treats bear’s place in ancient poetics. The second section exposes its role in Horace’s corpus, demonstrating how it instantiates both historical interpretive conflicts over one of Aristotle’s definition of the poet’s vocation and a wide range of Roman cultural and literary developments in the late first-century bce. The third and final section finds Horace’s bear stalking Renaissance artes poeticae and starring as the unstable genre-crossing centre of Shakespeare’s ‘The Winter’s Tale’ (1611). This article shows that Shakespeare’s bear has as much to do with the history of poetics (and the War of the Poets) as with the material history of stagecraft, which has often been the intriguing focus of scholarship on the bear. In addition to heightening our sense of the monstrous qualities of Augustan literature, and to troubling our notions about the classicism of classical literature, this article clarifies how classical poetics could function, in its own time and thereafter, as both analytic field and a literary genre sui generis.", "license": "OUP standard", "cited_by": 4, "n_refs": 76, "refs_to_crj": 1, "funder": [], "n": 262 }, { "doi": "10.1093/crj/claa027", "year": 2021, "vol": "13", "issue": "1", "title": "The Other Arena: Poetics Goes Global in the Iberian Atlantic, 1500–1650+", "authors": [ { "name": "Maya Feile Tomes", "family": "Feile Tomes", "orcid": null, "affil": [] } ], "abstract": "The period 1500–1650 is the period during which Europe’s poetic traditions — of ultimately Greco-Roman (i.e. Mediterranean Basin) origin — first came to be systematically exported outside the strictly European geographical sphere: the new contexts offered by the Portuguese- and especially Spanish-controlled zones of the rapidly expanding Iberian imperial world is where this first took place. This chapter moves away from the time-honoured Eurocentrisms of some of the more traditional approaches to early modern poetics by insisting upon 1500–1650+ as precisely the period during which the European literary tradition began to take on a life, or lives, of its own elsewhere across the globe. After surveying the key literary-historical developments in this connection, the chapter proceeds to consider how the Americas themselves came to be figured and indeed forged as a new zone of poetic activity — a new poetic(s) space — in early modern Ibero-American poetry itself. The selection of tropes identified and surveyed in this part of the chapter is offered as a sample of the dynamic literary phenomena that make up what we can call the poetics of the New World.", "license": "OUP standard", "cited_by": 2, "n_refs": 67, "refs_to_crj": 0, "funder": [], "n": 263 }, { "doi": "10.1093/crj/claa028", "year": 2021, "vol": "13", "issue": "1", "title": "Introduction: Poetics as Classical Reception", "authors": [ { "name": "Vladimir Brljak", "family": "Brljak", "orcid": "https://orcid.org/0000-0002-8074-432X", "affil": [ "Department of English Studies, Durham University, Elvet Riverside 1, Durham DH1 3JT, UK" ] }, { "name": "Micha Lazarus", "family": "Lazarus", "orcid": "https://orcid.org/0000-0003-1909-9031", "affil": [ "The Warburg Institute, University of London, School of Advanced Study, Woburn Square, London WC1H 0AB, UK" ] } ], "abstract": null, "license": "OUP standard", "cited_by": 0, "n_refs": 6, "refs_to_crj": 0, "funder": [], "n": 264 }, { "doi": "10.1093/crj/claa029", "year": 2021, "vol": "13", "issue": "1", "title": "‘Defying Gravity’: Prose Epic and Heroic Style in Lucrezia Marinella’s 1602 Vita di Maria Vergine", "authors": [ { "name": "Bryan Brazeau", "family": "Brazeau", "orcid": "https://orcid.org/0000-0003-2397-8020", "affil": [] } ], "abstract": "This article examines Lucrezia Marinella’s literary-theoretical declaration at the beginning of the 1602 Vita di Maria Vergine by contextualizing her claims within contemporary debates on whether epic, particularly Christian epic, can be written in a style of high prose. It demonstrates that although Marinella seems to rely more heavily on Aristotle’s Rhetoric, her choices in writing this epic in a high prose style were greatly influenced by the Poetics and contemporary discussions surrounding the text (along with a misunderstanding of the text itself). The essay also contains (as an appendix) the first English-language translation of Marinella’s literary theoretical preface, ‘To the Readers’.", "license": "OUP standard", "cited_by": 0, "n_refs": 48, "refs_to_crj": 0, "funder": [], "n": 265 }, { "doi": "10.1093/crj/claa023", "year": 2021, "vol": "13", "issue": "3", "title": "Epic Victories and Failures: Homer and Vergil in Russia", "authors": [ { "name": "Judith E. Kalb", "family": "Kalb", "orcid": null, "affil": [] }, { "name": "Zara M. Torlone", "family": "Torlone", "orcid": null, "affil": [] } ], "abstract": "This article focuses on selected complete Russian verse translations of Homer’s Iliad and Odyssey and of Vergil’s Aeneid produced over a period of nearly two centuries. By focusing on translation approach and goals, historical and cultural circumstances, and the literary talent of the translators, the authors explore the reasons for a particular translation’s success or failure. Further, they address the question of how Russian translators achieved canonical, or generally accepted, translations of the Homeric epics, while translations of Vergil’s epic found no such success.", "license": "OUP standard", "cited_by": 0, "n_refs": 39, "refs_to_crj": 0, "funder": [], "n": 266 }, { "doi": "10.1093/crj/claa024", "year": 2021, "vol": "13", "issue": "3", "title": "Staging Archaeology: Empire as Reality Effect at the 1906–07 fêtes de Carthage", "authors": [ { "name": "Daniel J. Sherman", "family": "Sherman", "orcid": null, "affil": [] } ], "abstract": "Organized by a private association with the support of the French Protectorate, the 1906 and 1907 pageants or fêtes de Carthage, held at a recently excavated Roman theatre at an important site of ancient colonization, celebrated the achievements and the promise of archaeology in Tunisia. Inspired by open-air theatricals in the ancient theatres of Orange and Béziers, the elaborate stagings involved hundreds of actors, large volunteer crews, and sumptuous period costumes. After a program of excerpts from neoclassical drama and opera in 1906, the 1907 pageant featured two specially commissioned plays, one of them an encounter between a modern-day poet and a Carthaginian priestess on the very archaeological site where her tomb is discovered. The pageants drew on both specific archaeological findings and a pervasive visual culture that depicted French colonizers as preservers of the ancient culture of which they had found traces in North Africa. The violence of colonization was thus consigned to the realm of performance and archaeology cast as a valuable source of knowledge. Although the pageants operated in a nostalgic mode, they ultimately served a more historicist sense of time in which archaeology as an emerging science helped to police the boundary between past and present.", "license": "OUP standard", "cited_by": 1, "n_refs": 90, "refs_to_crj": 0, "funder": [], "n": 267 }, { "doi": "10.1093/crj/claa033", "year": 2021, "vol": "13", "issue": "3", "title": "Do Not Read the Latin: Latin as Satanic Signifier in Supernatural Horror Cinema", "authors": [ { "name": "Nicholas Banner", "family": "Banner", "orcid": "https://orcid.org/0000-0002-0448-0238", "affil": [] } ], "abstract": "This article examines the tropological use of the Latin language to evoke the diabolical in supernatural horror cinema. When Latin is intoned in a suitably Gothic context, horror-savvy audiences have every reason to foresee the Devil and his minions arriving in short order, and are rarely disappointed. This article examines the genealogy of this trope, modelling the prolegomena to an intellectual history of cinematic Satanic Latin. The first part of the analysis traces the development of the trope through literature via the European and American Gothic traditions, the writings of the Decadents, and supernatural horror literature. The analysis then broadens to encompass Occultism, the occult, and ‘occulture’ more generally as important aspects of the discourse-community within which Satanic Latin functions. Finally, the scholarly concept of ‘re-enchantment’ from the history of religions is brought to bear on the semiotic role of Satanic Latin in its performative cinematic context.", "license": "OUP standard", "cited_by": 1, "n_refs": 55, "refs_to_crj": 0, "funder": [], "n": 268 }, { "doi": "10.1093/crj/claa035", "year": 2021, "vol": "13", "issue": "3", "title": "Cinematizing the Epic Gaze: Julius Caesar and Pompey in Lucan and in the HBO/BBC Television Series Rome 1", "authors": [ { "name": "Anna A. Novokhatko", "family": "Novokhatko", "orcid": "https://orcid.org/0000-0002-3911-2574", "affil": [] } ], "abstract": "In this article I argue that a gaze-oriented analysis of the representations of the protagonists Caesar and Pompey in Lucan’s epic The Civil War (written 62–65 ce) and in the recent television series Rome (broadcast by HBO, BBC Two and Rai 2 between 2005 and 2007) opens new opportunities both for interpreting Lucan’s text and for comprehending its reception in the television series. Lucan deliberately employs intensive vocabulary and narrative of vision and visuality when his protagonists appear. In Lucan, Caesar and Pompey are represented, zoomed in upon, and put into action in a cinematic way. The manner in which they see and are seen is crucial for their distinctiveness and determine their function in epic. In the television series, these patterns are taken over and reused within the new technical medium.", "license": "OUP standard", "cited_by": 0, "n_refs": 36, "refs_to_crj": 2, "funder": [], "n": 269 }, { "doi": "10.1093/crj/claa022", "year": 2021, "vol": "13", "issue": "4", "title": "Not cricket, not classics? A case study in the limits of reception", "authors": [ { "name": "Ayelet Haimson Lushkov", "family": "Haimson Lushkov", "orcid": null, "affil": [] } ], "abstract": "This article offers a reading of the coverage of the 2013–14 Ashes series by way of exploring the limits of classical reception. Focusing on the poetics of recusal (recusatio, praetritio) and their place in advertising memory sanctions as site of contested power, I suggest that although the coverage lacks explicit reference to classical material, it nevertheless can be read as classical by analogy, and as such ought to be treated as a case of classical reception.", "license": "OUP standard", "cited_by": 0, "n_refs": 48, "refs_to_crj": 0, "funder": [], "n": 270 }, { "doi": "10.1093/crj/claa031", "year": 2021, "vol": "13", "issue": "4", "title": "Respice, Adspice, Prospice : The ‘Marathon Stone’, Lewisohn Stadium, and the changing reception of the classics at City College in the twentieth century", "authors": [ { "name": "Elizabeth Macaulay-Lewis", "family": "Macaulay-Lewis", "orcid": null, "affil": [] }, { "name": "Matthew C Reilly", "family": "Reilly", "orcid": null, "affil": [] } ], "abstract": "Throughout its history, New York has received several archaeological objects as gifts, including a mid-fourth-century BCE Greek funerary stele. Dr John Huston Finley, the third president of City College, saw a stele when he was in Greece and asked the Greek Government to gift the stele to the college. The stele, dubbed the ‘Marathon Stone’ by Finley, was dedicated and proudly displayed at City College, now of the City University of New York. This article explores the gift’s context by drawing on contemporary newspaper reports, Finley’s tenuous association of the stele with the battle of Marathon, and the gifting of an archaeological object as a means for promoting ties between City College and Greece. The article then examines the context for the stele’s display, the Neo-Antique Lewisohn Stadium, and argues that the display of the stele and erection of Lewisohn Stadium both embodied Finley’s aspirations for City College to rival Columbia and New York Universities. The demise of the stadium in 1973 and the removal of the stele to a basement signaled a major shift in the significance of the classics, classical art, and Neo-Antique architecture at City College, as well as the changing priorities of the institution.", "license": "OUP standard", "cited_by": 2, "n_refs": 81, "refs_to_crj": 2, "funder": [], "n": 271 }, { "doi": "10.1093/crj/claa036", "year": 2021, "vol": "13", "issue": "4", "title": "Humanity and revolution in José Fuentes Mares’ La joven Antígona se va a la guerra", "authors": [ { "name": "Andrés A Carrete", "family": "Carrete", "orcid": null, "affil": [] } ], "abstract": "José Fuentes Mares’ La joven Antígona se va a la guerra (‘Young Antigone Goes to War’) is a Mexican adaptation of Sophocles’ Antigone written and first performed in 1968. The play, full of unique accomplishments, demonstrates a deep engagement with the Sophoclean original and has a complex original performance context. It premiered a week after the biggest student massacre in Mexican history, the Tlatelolco Massacre of 2 October 1968. In this article, I bring attention to Fuentes Mares’ work as an exceptional contribution to the Latin American reception of Sophocles’ Antigone. I detail the play’s explicit invitations to be read against Sophocles’ original and highlight the playwright’s choices to reframe Antigone’s resistance by reworking long-standing dualisms. I argue that Fuentes Mares’ adaptation of Antigone advises introspection, compassion, and endurance in the face of violent oppression. This function differs from other Latin American adaptations of Antigone, which tend to give a voice to the marginalized with calls for organized social action or pleas for the acknowledgment of ongoing abuses. This analysis should help expand our understanding of the reception of Sophocles’ Antigone as a multifaceted instrument varying in its response to oppressions throughout Latin America.", "license": "OUP standard", "cited_by": 0, "n_refs": 55, "refs_to_crj": 1, "funder": [], "n": 272 }, { "doi": "10.1093/crj/clab003", "year": 2021, "vol": "13", "issue": "4", "title": "Medea and other women in Jules Dassin’s Never on Sunday", "authors": [ { "name": "Georgia Sermamoglou-Soulmaidi", "family": "Sermamoglou-Soulmaidi", "orcid": null, "affil": [] } ], "abstract": "In Jules Dassin’s 1960’s film Never on Sunday, Ilia is a Greek prostitute at the port of Piraeus, who is very fond of Greek tragedy. Yet, while she has seen Euripides’ Medea fifteen times, she keeps denying that, at the end of the play, Medea kills her children. This article explores the reasons why Ilia insists on seeing the play again and again, while also insisting on recasting a revenge plot into a love story with a happy ending. Furthermore, it discusses gender dynamics in the film, focusing on Ilia’s firm opposition to all female oppression. Finally, it argues that, through Ilia’s misinterpretation of Medea, Never on Sunday invites discussion of the various disguises of human vulnerability and of an all too common fear—the fear of love.", "license": "OUP standard", "cited_by": 0, "n_refs": 22, "refs_to_crj": 0, "funder": [], "n": 273 }, { "doi": "10.1093/crj/clab006", "year": 2021, "vol": "13", "issue": "4", "title": "Heidegger, classical reception and the discourse of modernity: a crisis in thinking", "authors": [ { "name": "Joseph M Walsh", "family": "Walsh", "orcid": null, "affil": [] } ], "abstract": "Heidegger, perhaps the most influential philosopher of the last century, sought to do something with the Greeks never done before: to establish a new tradition of thinking. He saw in their literature and philosophy a concern with what is most essential and vital to man, and which has been glossed over and forgotten in modern thought. Controversial as his readings are, the exploration given here of Heidegger’s attempt to revive the spirit of Greek thinking reveals not only the fundamentally receptive nature of his philosophy but also the philosophical import of classical reception. While few would argue that Heidegger initiated a new tradition, he set in motion an intellectual crisis surrounding how the ills of modernity are rooted in modes of thought we must overcome. By making the Greeks the solution to this, Heidegger shifted the so-called ‘discourse of modernity’ to an assessment of the Greek’s impact on thinking today and their potential for us to think anew. As such, he made classical reception the vehicle for both understanding and critiquing the form of Modernity and its thinking. Therein lies the value of Heidegger for classical reception, because he gives it the intellectual impetus to confront what man is today.", "license": "OUP standard", "cited_by": 1, "n_refs": 47, "refs_to_crj": 0, "funder": [], "n": 274 }, { "doi": "10.1093/crj/clab011", "year": 2021, "vol": "13", "issue": "4", "title": "Hellenism, philhellenism and classical reception: commemorating the 1821 revolution", "authors": [ { "name": "Jennifer Wallace", "family": "Wallace", "orcid": null, "affil": [] }, { "name": "Vassilis Lambropoulos", "family": "Lambropoulos", "orcid": null, "affil": [] } ], "abstract": "The Greek Revolution of 1821–1829 mobilized the ideas of classical reception and Philhellenism developed over the previous century to appeal for international support for the war. These complicated ideas influenced the ways both Greeks and non-Greeks thought about the nation, its political character, language, literature, history, culture and landscape. How the revolution and post-revolutionary Greece have been interpreted has shifted over the past 40 years, reflecting changes in both critical theory and also in the geopolitical circumstances in the Eastern Mediterranean and globally. The bicentenary celebrations of 2021 have highlighted the complex, competing claims for the authority to give the dominant account of the founding of modern Greece. Reviewing the scholarship on both Western and Greek Hellenism over the past four decades, our article considers the relationship between classical reception, revolution and the act of commemoration and reveals the hybridity of Hellas in 1821 and 2021.", "license": "CC by/4.0", "cited_by": 4, "n_refs": 92, "refs_to_crj": 1, "funder": [], "n": 275 }, { "doi": "10.1093/crj/claa034", "year": 2021, "vol": "14", "issue": "1", "title": "A good gay Odyssey : Andrew Sean Greer’s Less", "authors": [ { "name": "Judith Fletcher", "family": "Fletcher", "orcid": null, "affil": [] } ], "abstract": "Andrew Sean Greer’s comedic novel Less is a self-reflexive version of the Odyssey, featuring a gay love story in which the narrator and his subject merge to produce a postmodern homophrosyne that recapitulates the like-mindedness of Odysseus and Penelope. Although the novel makes explicit allusions to specific events and characters of the Homeric epic, its most significant intertextuality is not inscribed in Less’s events and characters, but rather in their telling, as if by a male Penelope to whom Odysseus recounted his tales. Using the device of the mise-en-abyme, and yet disrupting the conventions of novelistic story-telling, Greer aligns the recursive structures of his text in order to intertwine theories of narratology with sexual identity.", "license": "OUP standard", "cited_by": 0, "n_refs": 39, "refs_to_crj": 0, "funder": [], "n": 276 }, { "doi": "10.1093/crj/claa037", "year": 2021, "vol": "14", "issue": "1", "title": "The ‘Antipoet of the Greeks’, or, how Euripides became a modernist", "authors": [ { "name": "Kay Gabriel", "family": "Gabriel", "orcid": null, "affil": [] } ], "abstract": "This essay pursues the history of the widespread and influential claim that the ancient Greek tragedian Euripides anticipates the social concerns of modernity and the formal strategies of modernism. The claim originated at the same time as the development of the canon of German tragic criticism at the turn of the nineteenth century. Building on but importantly altering the ancient criticism of Euripides from Aristophanes and Aristotle, Friedrich and August Wilhelm Schlegel and Friedrich Schiller each understood Euripides in close and uncomfortable proximity to their own political moment. The criticism that developed out of this canon both identified Euripides as an untimely modern and produced a series of hostile appraisals of his work. In the conjuncture of modernism in the early twentieth century, professional classicists and modernist poets both accepted the claim of Euripides’ untimely modernity and transvalued its terms: the projection of a ruptural, anticipatory modernity onto Euripides allowed the tragedian to assume the cast of a fellow-traveler of the literary projects of modernism itself. Following the modernist conjuncture, the untimely modernity claim has thoroughly influenced, and frequently dominated, the translation, adaptation, and interpretation of Euripides both inside and outside the professional study of Classics.", "license": "OUP standard", "cited_by": 0, "n_refs": 49, "refs_to_crj": 0, "funder": [], "n": 277 }, { "doi": "10.1093/crj/clab004", "year": 2021, "vol": "14", "issue": "1", "title": "Plautus goes USA: the adaptation of Rudens by the Ladies’ Literary Society of Washington University in St. Louis, Missouri, in 1884", "authors": [ { "name": "Julia Jennifer Beine", "family": "Beine", "orcid": "https://orcid.org/0000-0001-8979-8706", "affil": [] } ], "abstract": "This article investigates the first documented performance of a Plautine comedy in Latin in the USA. In 1884, The Ladies’ Literary Society of Washington University in St. Louis, Missouri, staged Plautus’ Rudens in Latin with an all-female cast. This performance offers a unique opportunity to analyse the Society’s understanding and interpretation of Plautus’ play as well as its adaptation for the nineteenth-century stage. Furthermore, the Society provided an English translation for its academic and especially its non-academic audience, evidence of how the Society dealt with the Plautine Latin text. Based on this translation and contemporary newspaper and journal articles, this article outlines the main characteristics of the Society’s adaptation. First, this production merits scrutiny in the historical context of staging ancient Greek and Roman plays in the USA during the late-nineteenth century, since the Society followed the trend, started by Harvard University’s staging of Sophocles’ Oedipus Tyrannus in 1881, of presenting ancient plays ‘authentically’. Nevertheless, the Society seems to have staged this Roman comedy as a feminist response to Harvard’s production of a Greek tragedy. Secondly, the Society modernised Plautus’ comedy by adding strong melodramatic elements, and thirdly, it reflected the contemporary socio-cultural context by alluding to current American concerns.", "license": "OUP standard", "cited_by": 0, "n_refs": 104, "refs_to_crj": 0, "funder": [], "n": 278 }, { "doi": "10.1093/crj/clab005", "year": 2021, "vol": "14", "issue": "1", "title": "The music of Iannis Xenakis’ estranged Kassandra", "authors": [ { "name": "Emily Pillinger", "family": "Pillinger", "orcid": null, "affil": [] } ], "abstract": "Iannis Xenakis (1922–2001) was a radically innovative composer. Violently persecuted for his leftist activism in the Greek Civil War that followed the Second World War, he fled Greece to live the rest of his life in Paris. One of the most explicit expressions of his resultant feelings of trauma, guilt, and displacement can be found in the vocal piece he called Kassandra (1987). This demanding work requires its two performers to enact and explore the alienation experienced by the prophet Cassandra in Aeschylus’ Agamemnon. Xenakis’ Kassandra is defined by a symbiotic relationship between percussionist and vocalist, by a simultaneously controlled and improvisatory score based on extracts from Aeschylus’ Agamemnon, and by a striking use of the baritone singer’s falsetto as well as his chest voice. These features of the piece mark out Cassandra as ‘other’ in her origins, her sex, and her language, while also hinting that her characteristics are not entirely foreign, but are in fact understood or even shared by the very communities that initially seemed to exclude her.", "license": "CC by/4.0", "cited_by": 0, "n_refs": 37, "refs_to_crj": 0, "funder": [], "n": 279 }, { "doi": "10.1093/crj/clab007", "year": 2021, "vol": "14", "issue": "1", "title": "Pushing against an open door: Agamben on Hadot and Foucault", "authors": [ { "name": "Matthew J Sharpe", "family": "Sharpe", "orcid": null, "affil": [] }, { "name": "Matteo J Stettler", "family": "Stettler", "orcid": "https://orcid.org/0000-0001-7287-6739", "affil": [] } ], "abstract": "This article provides a rejoinder to Giorgio Agamben’s interpretation of the Hadot-Foucault dialogue, which appeared in the pivotal ‘Intermezzo’ of The Use of Bodies. In ‘Pushing against the open door’ section, we provide a close reading of Agamben’s claims about Hadot’s alleged misreadings of Foucault on the ancients and on subjectivity more widely. We demonstrate how, far from rebutting Hadot, these claims end up confirming the latter’s positions on Foucault malgré Agamben. In ‘Wisdom, the cosmic dimension, and the “objectivist-exercisant” self’ section, we draw on classicist Christopher Gill’s notion of the ‘objectivist-participant’ self in Greco-Roman Antiquity, to argue that the deepest stakes of the debate between Foucault and Hadot do not implicate Hadot’s incompetence, as Agamben suggests. They concern Foucault’s unease, as well as Agamben’s misunderstanding, of the objective and participative dimensions of ancient conceptions of selfhood. In ‘The ghosts of christianities past’ section, we contest the recurrent tendency of commentators, like Agamben, to assume latent carry-overs of Hadot’s early religiosity in his later works on Greek and Roman philosophy and spiritual exercises as reflecting the long shadow of Christianity in postmodern thought.", "license": "OUP standard", "cited_by": 0, "n_refs": 46, "refs_to_crj": 0, "funder": [], "n": 280 }, { "doi": "10.1093/crj/clab009", "year": 2021, "vol": "14", "issue": "1", "title": "Erratum to: Plautus goes USA: the adaptation of Rudens by the Ladies’ Literary Society of Washington University in St. Louis, Missouri, in 1884", "authors": [ { "name": "Julia Jennifer Beine", "family": "Beine", "orcid": "https://orcid.org/0000-0001-8979-8706", "affil": [] } ], "abstract": null, "license": "OUP standard", "cited_by": 0, "n_refs": 0, "refs_to_crj": 0, "funder": [], "n": 281 }, { "doi": "10.1093/crj/clab010", "year": 2021, "vol": "14", "issue": "1", "title": "Shakespeare’s suppliants: the ‘rotten custom’ of ancient asylum seeking in Coriolanus", "authors": [ { "name": "Christina Wald", "family": "Wald", "orcid": null, "affil": [] } ], "abstract": "Looking back to the early modern period from the current immigration crisis, this article reads Shakespeare’s tragedy Coriolanus as a tragedy of displacement and asylum seeking. It argues that just like theatrical productions today, Shakespeare might have harked back to ancient Greek tragedy as a cultural resource for coming to terms with the challenges of immigration. It traces the possible migrations between the ritual of asylum seeking that was reflected in a number of Greek tragedies including Aeschylus’s Hiketides, the earliest surviving play about refugees from the fifth century BCE, and Shakespeare’s Coriolanus. In this respect, this article is part of the current critical re-evaluation of the relations between Shakespeare’s work and ancient Greek tragedy. It places Coriolanus into the intertextual and intermedial hiketeia rhizome, in which one transmission line from Greek tragedy via Dionysius of Halicarnassus, Plutarch, Amyot, and North to Shakespeare can be corroborated by evidence, while other lines are more uncertain. Asking whether hiketeia, the ancient verbal and gestural repertoire of a stranger pleading for protection and integration into the polis, is only present as ‘rotten custom’ in Shakespeare’s tragedy, as a trace of cultural history without any considerable force in the new context, the article explores the paradoxical negotiation of displacement in Coriolanus, where both the exiled and the exiler become suppliants. It proposes that Shakespeare’s transformative reactivation of hiketeia as a theatrically, affectively, and politically potent form created an opportunity to negotiate the immigration crisis in Jacobean England.", "license": "OUP standard", "cited_by": 0, "n_refs": 67, "refs_to_crj": 3, "funder": [], "n": 282 }, { "doi": "10.1093/crj/clab008", "year": 2021, "vol": "14", "issue": "2", "title": "Tragic Form in Kamila Shamsie’s Home Fire", "authors": [ { "name": "Naomi Weiss", "family": "Weiss", "orcid": "https://orcid.org/0000-0001-6277-8246", "affil": [] } ], "abstract": "This article examines Kamila Shamsie’s adaptation of Sophocles’ Antigone in Home Fire (2017), a novel focused on Muslim identity, Islamophobia, and citizenship rights in contemporary Britain. It demonstrates that this novel is a multimedia work full of theatrical traces: a literary archive that preserves the dramatic quality of Sophocles’ play but also encompasses multiple other forms of media and performance, from theatre and television to social media. The article focuses not so much on how Shamsie has adapted the plot of Antigone but on her reworking of tragedy’s formal features or structures, such as dialogue, the chorus, and the messenger speech. In this polyphonic novel, such multimedia theatricality facilitates something that Greek tragedy itself produces: a contestation of multiple voices for audiences to hear, critique, and put against their own. Shamsie’s manipulation of tragic form thus contributes to Home Fire’s political import.", "license": "OUP standard", "cited_by": 9, "n_refs": 83, "refs_to_crj": 1, "funder": [], "n": 283 }, { "doi": "10.1093/crj/clab012", "year": 2021, "vol": "14", "issue": "2", "title": "An Israeli–Palestinian Hecuba: Hanoch Levin’s Anti-Tragedy", "authors": [ { "name": "Abigail Akavia", "family": "Akavia", "orcid": null, "affil": [] } ], "abstract": "The Lost Women of Troy by Hanoch Levin, Israel’s foremost playwright of the twentieth century, is an adaptation of Euripides’ Trojan Women and Hecuba. Staged in Tel Aviv in 1984 during the First Lebanon War, Lost Women focuses on the bereavement and humiliation of Hecuba. Levin reconfigures this character to reflect mothers on both sides of the Israeli–Palestinian conflict. Through a subversion of the aesthetics of tragedy, Levin’s play is an indictment of the notion of heroism prevalent in Israeli society. It presents a bitter criticism of his public’s acceptance of the ideology of war and their participation in a narrative that glorifies those who die in combat as heroes. Levin’s critique, I argue, is formulated as a textual sparagmos, a violent tearing apart of Euripides’ tragedies and the conventions in which they operate. Levin’s metatheatrical violence against the tragic genre parallels the inherent violence of the discourse of heroism which his adaptation seeks to expose and denounce.", "license": "OUP standard", "cited_by": 0, "n_refs": 38, "refs_to_crj": 1, "funder": [], "n": 284 }, { "doi": "10.1093/crj/clab013", "year": 2021, "vol": "14", "issue": "2", "title": "Classical Absences (1896–2017)", "authors": [ { "name": "Laura Jansen", "family": "Jansen", "orcid": null, "affil": [ "Senior Lecturer in Classics & Comparative Literature at the University of Bristol" ] } ], "abstract": "When we consider classical receptions in terms of presences, we often think of how antiquity materializes visibly and/or substantially in the fabric of our histories, whether as physical remains or concrete traditions. Yet the search for the classical as a solid, conspicuous phenomenon reveals only one side of the fascinating story of how we can conceive its status and circulation across space and time. This article investigates some key examples across the period 1896–2017, from Argentine author J. L. Borges to British poet-translator Josephine Balmer, which disclose the flip side of this story—that of antiquity’s existence on various levels of dispersal, silence, and occlusion at the intersections of poetry, mythopoeic biography, legend-making, and creative translation. It argues that, in their engagement with the Greco-Roman past, these examples both advance our understanding of absence as a critical idiom and question our sense of how antiquity makes its impact on our world as a ‘classical presence’.", "license": "CC by-nc/4.0", "cited_by": 4, "n_refs": 34, "refs_to_crj": 0, "funder": [], "n": 285 }, { "doi": "10.1093/crj/clab002", "year": 2022, "vol": "14", "issue": "1", "title": "Procne in Toni Morrison’s Beloved", "authors": [ { "name": "Sigrid Schottenius Cullhed", "family": "Cullhed", "orcid": null, "affil": [] } ], "abstract": "Sethe Suggs, the protagonist in Toni Morrison’s novel Beloved, is often compared to Medea. The same analogy with the Colchian princess was often made by contemporaries in relation to Margaret Garner, the historical person on whose life the novel is loosely based. An enslaved African-American woman in the mid-nineteenth century, Garner killed her own daughter after being found by her former owner and was styled a ‘Modern Medea’ in the press. Despite Morrison’s dislike of the comparison as well as its obvious asymmetries, it has become so prominent in recent scholarship on Beloved that it tends to eclipse other elements of classical mythology in the novel. This article explores the hermeneutic productivity of reading Sethe’s infanticide against the backdrop of the myth of Procne and Philomela.", "license": "CC by/4.0", "cited_by": 3, "n_refs": 68, "refs_to_crj": 0, "funder": [ "Swedish Research Council", "European Union’s Horizon 2020" ], "n": 286 }, { "doi": "10.1093/crj/clab014", "year": 2022, "vol": "14", "issue": "2", "title": "On Criticising The Knox Bible", "authors": [ { "name": "Andrew J Horne", "family": "Horne", "orcid": "https://orcid.org/0000-0003-0901-1630", "affil": [] } ], "abstract": "Ronald Knox’s 1955 translation of the Latin Vulgate met with an overall lackluster reception. Yet critics were never able to agree on what was wrong, or even what the translation was like. Some found Knox modern, others old-fashioned. Some criticised him for departing from the Challoner Douay-Rheims, others for not translating the Hebrew and Greek. Through collation and close reading of reviews, this article traces the clash of expectations that led to the spotty reception of the Knox Bible. Though some took a conservative line, others an aggiornamento line, Knox’s audience largely lacked a way to categorise his readable, rhetorical, designedly atemporal, and unashamedly individualist translation.", "license": "OUP standard", "cited_by": 0, "n_refs": 75, "refs_to_crj": 0, "funder": [], "n": 287 }, { "doi": "10.1093/crj/clab015", "year": 2022, "vol": "14", "issue": "2", "title": "Constructing the Classical Past: the Role of Landscape in Christopher Wordsworth’s Greece", "authors": [ { "name": "Dawn L Hollis", "family": "Hollis", "orcid": "https://orcid.org/0000-0003-3549-1447", "affil": [] } ], "abstract": "This article examines the works of Christopher Wordsworth (1807–85), who has hitherto been neglected as an important and intriguing figure in the history of travel writing on Greece. His texts, which invite readers to ‘view’ the country from mountain-tops and to imagine its caves and quarries filled with ancient figures, highlight the importance of landscape as a frame for studying classical reception. Wordsworth ‘received’ ancient Greece through its visible, modern landscape in three ways: through a sense of the landscape as a container for memory, through the use of specific landscapes as springboard for ‘flights of fancy’ enabling a vivid engagement with the classical past, and as a tool for better interpreting and understanding the history and literature of the ancient Mediterranean. Christopher Wordsworth constructed a vision of ancient Greece for his readers through his description of the nineteenth-century landscape. As such he offers an important reminder to consider the role played by the embodied experience of space and place in analysing acts of classical reception.", "license": "CC by-nc/4.0", "cited_by": 1, "n_refs": 30, "refs_to_crj": 0, "funder": [], "n": 288 }, { "doi": "10.1093/crj/clab016", "year": 2022, "vol": "14", "issue": "2", "title": "Carthaginians Beyond the Ocean: Comparison, Justification, and Inversion in the Hypothesis of the Carthaginian Discovery of America", "authors": [ { "name": "Pamina Fernández Camacho", "family": "Fernández Camacho", "orcid": null, "affil": [] } ], "abstract": "After the American continent was discovered, Spanish intellectuals exerted their ingenuity in an attempt to explain the existence of those hitherto unknown territories, and engaged in controversies about the moral and legal right to exploit them. The use of classical sources as authorities was common in those debates. In this article, we focus on the mention by Ps.-Aristotle and Diodorus of an island in the Atlantic Ocean, discovered and exploited by Carthaginians until the colonization process came to a dramatic end. We study the use of this story in connection with America, exploring its role in the controversy about rights of discovery and its implications for the debate about the ethnicity of indigenous peoples and the justification of their conquest. This led to the establishment of a comparison between the ancient colonization of Spain by the Carthaginians and the colonization of America by the Spaniards, where the latter was presented as an improvement or positive reverse of the former. Finally, we present the hypothesis that this Carthaginian colonization, as it was imagined in the early sixteenth century, was inspired by contemporary events taking place in America, and that this had an impact on the understanding of ancient Spanish history for centuries.", "license": "OUP standard", "cited_by": 0, "n_refs": 53, "refs_to_crj": 0, "funder": [], "n": 289 }, { "doi": "10.1093/crj/clab017", "year": 2022, "vol": "14", "issue": "2", "title": "Smash the Thing: William Kentridge, Classical Antiquity, and his Refusal of Time in O Sentimental Machine", "authors": [ { "name": "Samuel Agbamu", "family": "Agbamu", "orcid": "https://orcid.org/0000-0002-4844-9283", "affil": [] } ], "abstract": "This article examines a 2018 exhibition of William Kentridge’s work, entitled O Sentimental Machine, at the Liebieghaus Skulpturensammlung in Frankfurt. This exhibition placed the South African artist’s work in confrontation with the museum’s collections, which offer an overview of sculpture from antiquity to early modernity. The exhibition draws together themes explored in Kentridge’s sustained engagement with Greek and Roman antiquity: critiques of triumphant narratives of history; questions of memorialization and ruination; and the probing of narratives of enlightenment, which begin with Plato’s allegory of the cave (Rep. 514a–521b). The first half of the article considers Kentridge’s dialogues with Greek and Roman antiquity in his wider works before turning to his Triumphs and Laments (2016), a series of images telling the story of Rome, imprinted on the embankment walls of the Tiber. The second half focuses on O Sentimental Machine, paying particular attention to The Refusal of Time, a piece presented at the exhibition. The article argues that this piece offers a compelling challenge to narratives of ‘civilisation’, at the centre of which lie hegemonic notions of time, underpinned by constructions of the classical tradition. Kentridge thus offers a vision for emancipatory engagements with Greek and Roman antiquity.", "license": "OUP standard", "cited_by": 0, "n_refs": 59, "refs_to_crj": 1, "funder": [], "n": 290 }, { "doi": "10.1093/crj/clac006", "year": 2022, "vol": "14", "issue": "3", "title": "Introduction: what is failure in translation?", "authors": [ { "name": "Susanna Braund", "family": "Braund", "orcid": null, "affil": [ "Department of Classical, Near Eastern & Religious Studies, University of British Columbia , Vancouver, Canada. Email:  susannablues@gmail.com" ] }, { "name": "Zara Martirosova Torlone", "family": "Martirosova Torlone", "orcid": null, "affil": [] } ], "abstract": null, "license": "OUP standard", "cited_by": 0, "n_refs": 0, "refs_to_crj": 0, "funder": [], "n": 291 }, { "doi": "10.1093/crj/clac007", "year": 2022, "vol": "14", "issue": "3", "title": "On the idea of failure in Vergilian translation", "authors": [ { "name": "Marie-Alice Belle", "family": "Belle", "orcid": null, "affil": [] } ], "abstract": "This article examines the idea of failure (and its corollary, success) in the critical discourse surrounding translations of Vergil’s works in the English-speaking world. Focusing mainly on (early) modern English translations of the Aeneid, with a few inroads into other Vergilian translation traditions, it identifies the main criteria for failure or success and situates them in their historical context. It also discusses the relationship between such judgements of value and the evolving — or, at times, conflicting — linguistic, aesthetic, social, and political norms surrounding the translation of Vergil’s poetry. The essay is an invitation to re-examine our own criteria for failure and success, through an increased awareness of their historical and cultural underpinnings.", "license": "OUP standard", "cited_by": 0, "n_refs": 73, "refs_to_crj": 0, "funder": [], "n": 292 }, { "doi": "10.1093/crj/clac008", "year": 2022, "vol": "14", "issue": "3", "title": "Vergil ‘disrobed’: John Vicars’ ‘home-spun English gray-coat plain’ Aeneid (1632)", "authors": [ { "name": "Susanna Braund", "family": "Braund", "orcid": null, "affil": [] } ], "abstract": "This article puts the spotlight upon the neglected 1632 translation of the entire Aeneid by the poet, puritan, and parliamentarian John Vicars, which, as the first complete translation of the Aeneid by an Englishman, should be more prominent in literary history. The article’s central argument is that the neglect of Vicars’ translation was, both at the time and thereafter, a manifestation of the class warfare that has long pervaded English society. This argument complements the view expressed by other scholars that the dismissal of Vicars was grounded in his radical puritanism and anti-Catholicism. The article analyses the paratextual materials that introduce the translation, including the dedicatory epistle, the address to the reader, and the poems of endorsement, as well as the poem itself, for signs of class struggle. By offering a close textual analysis, it argues that it is far from obvious that the quality of Vicars’ version is inferior. It concludes that the patent early hostility towards Vicars is more closely related to the person of the translator than the qualities of the translation; specifically, it attributes the failure of Vicars’ translation to dislike for the translator’s extremely humble origins, alongside his unfashionable religious and political views.", "license": "OUP standard", "cited_by": 0, "n_refs": 25, "refs_to_crj": 0, "funder": [], "n": 293 }, { "doi": "10.1093/crj/clac009", "year": 2022, "vol": "14", "issue": "3", "title": "Mataioponēmata : the politics of failure in translating the Aeneid in eighteenth- and nineteenth-century Greece", "authors": [ { "name": "Sophia Papaioannou", "family": "Papaioannou", "orcid": null, "affil": [] } ], "abstract": "The composition of translations of Classical texts in the nineteenth-century Greek state was a complex issue entwined with politics, ideology, and the cultural identity of the new nation that sought to construct its identity by looking back towards its glorious Classical Greek past. It is, moreover, an issue tied to the so-called ‘language question’, the ardent debate on the type of the national Greek language (archaizing Greek, katharevousa, or demotiki). The intellectual elite of the new nation-state, led by the professoriate of the newly founded Ottonian University and a number of influential Greek intellectuals of the Diaspora tried to acquaint the newly-liberated Greeks with the classical writers of antiquity primarily through education. Since these elites favoured the katharevousa, a conservative construct of the spoken Greek language fashioned as a compromise between Classical Greek and the spoken vernacular of the time, the produced translations of the ancient authors had limited appeal across time, and they never aspired to address an audience beyond academia. Thus, all translations of the Aeneid published in Greece during the eighteenth and nineteenth centuries were literary failures. They were never meant to be read independently from the original Latin, and, inevitably, were largely forgotten following the death of their authors.", "license": "OUP standard", "cited_by": 0, "n_refs": 41, "refs_to_crj": 0, "funder": [], "n": 294 }, { "doi": "10.1093/crj/clac010", "year": 2022, "vol": "14", "issue": "3", "title": "The puzzle of Valerii Briusov’s Aeneid", "authors": [ { "name": "Zara Martirosova Torlone", "family": "Martirosova Torlone", "orcid": null, "affil": [] } ], "abstract": "The translation of the Aeneid by a leading Symbolist poet Valerii Briusov, on which he worked most of his life, failed to gain favor with Russian readers because of its literalism. Combining various theoretical approaches with a close analysis of the text this essay explores why Briusov’s translation failed in the context of the cultural and aesthetic demands of the era in which it was composed.", "license": "OUP standard", "cited_by": 0, "n_refs": 27, "refs_to_crj": 0, "funder": [], "n": 295 }, { "doi": "10.1093/crj/clac011", "year": 2022, "vol": "14", "issue": "3", "title": "Fascism and the classics: ideological manipulation and targeted translations of the Aeneid", "authors": [ { "name": "Giampiero Scafoglio", "family": "Scafoglio", "orcid": null, "affil": [] } ], "abstract": "A major aspect of Fascist manipulation of classical culture is the tendentious practice of translating texts in order to emphasize the points apparently consistent with the regime’s ideology: this process goes so far as to distort the meaning of the texts, which are used as means of political propaganda. This happened to the Aeneid, the most translated and probably the most misinterpreted poem in Italy during the Fascist period. I outline an overview of the translations made by Giuseppe Albini (1921), Francesco Vivona (1926), Giuseppe Lipparini (1928), Emilio Pratellesi (1930), and Guido Vitali (1930). I describe and illustrate with some examples the criteria followed by each author, with respect to lexical choice, sentence structure, and stylistic devices. Thus, I show how these translations (with the sole exception of that by Albini) are enslaved to their political purpose and betray the deep and complex message of the poem.", "license": "OUP standard", "cited_by": 2, "n_refs": 0, "refs_to_crj": 0, "funder": [], "n": 296 }, { "doi": "10.1093/crj/clac012", "year": 2022, "vol": "14", "issue": "3", "title": "The silent reception of Kristina Chew’s Georgics", "authors": [ { "name": "Fiona Cox", "family": "Cox", "orcid": null, "affil": [] } ], "abstract": "This article examines Chew’s translation of the Georgics within the context of a wave of classical reception that is witnessing an unusual number of female-authored translations. I explore the reasons why Chew’s work failed to attract the recognition and attention of other translations, such as Janet Lembke’s Georgics or Sarah Ruden’s Aeneid, and suggest that Chew’s status of outsider has influenced the reception of her translation. The article also analyses the idiosyncratic and daring choices made by Chew in her translation and considers the impact that this has on refashioning the Georgics for twenty-first century America.", "license": "CC by/4.0", "cited_by": 0, "n_refs": 13, "refs_to_crj": 1, "funder": [], "n": 297 }, { "doi": "10.1093/crj/clac013", "year": 2022, "vol": "14", "issue": "3", "title": "The early oblivion of the first Aeneid in Turkish: aiming at a moving target", "authors": [ { "name": "Ekin Öyken", "family": "Öyken", "orcid": null, "affil": [] } ], "abstract": "The first complete translation of Vergil’s Aeneid into Turkish was published in 1935–36, during the first decades of the Turkish Republic. The translator Ahmed Reşid (1870–1955) was an intellectual and statesman who not only witnessed but also played active roles in arguably the most radical sociocultural turn in the country’s long history. As Reşid did not know Latin, he used an intermediary French translation as his source text. If this alone might seem from a normative viewpoint an obstacle to success, a broader perspective that considers various approaches in current translation criticism reveals a more complete and nuanced image of Reşid's translation project. My aim here is to contextualize historically and to critically discuss this carefully made but too soon forgotten Vergil translation, by using a case-specific plurality of methods. I argue that Antoine Berman's hermeneutical model is especially useful for studies on classical reception including Vergil translations.", "license": "OUP standard", "cited_by": 1, "n_refs": 113, "refs_to_crj": 0, "funder": [], "n": 298 }, { "doi": "10.1093/crj/clac001", "year": 2022, "vol": "14", "issue": "4", "title": "Longing for home: a complex emotion in Homer’s Odyssey and Derek Walcott’s Omeros", "authors": [ { "name": "Karen Possingham", "family": "Possingham", "orcid": null, "affil": [] } ], "abstract": "Using recent affect theories, this article focuses on the role that emotion plays in new receptions of ancient texts, in this case the emotion of longing for home — for the place, as well as for the people — as we find it in the Homeric epics and in the modern Caribbean world of Derek Walcott. Longing for home in the Odyssey is portrayed as a contradictory emotion comprising both place attachment and grief, often felt with some ambivalence about returning home at all. I argue that, responding to this emotional tension, in his poem Omeros Walcott attempts to heal the historical wounds of slavery and a longing for a home that no longer exists through a new appreciation of and attachment to the landscape of St. Lucia. In addition, by challenging a Eurocentric view of racial dominance, it becomes possible to acknowledge anew the importance of Egyptian and other African influences on the Homeric tradition, influences that may have been neglected or dismissed, allowing for a new appreciation of the Homeric poem and place attachment in a post-colonial world.", "license": "OUP standard", "cited_by": 0, "n_refs": 56, "refs_to_crj": 1, "funder": [], "n": 299 }, { "doi": "10.1093/crj/clac002", "year": 2022, "vol": "14", "issue": "4", "title": "Oedipus at Dover Cliff: Early Modern Receptions of Seneca’s Phoenissae", "authors": [ { "name": "Caroline Engelmayer", "family": "Engelmayer", "orcid": null, "affil": [] } ], "abstract": "Major accounts of Renaissance Senecanism argue that tragic protagonists in Seneca and his early modern imitators draw on overwhelming fury to achieve autarkic selfhood. Yet not all plays follow this mould: unlike the better-known Thyestes and Medea, Seneca’s Phoenissae locates tragic identity in the self-conscious rejection of a sudden resolution to violent strife. Oedipus, the play’s protagonist, temporarily relents in response to Antigone’s pleas against self-harm; despite his swift reversion to anger, this short-lived reconciliation aligns the tragedy with structural elements of comedy as understood by Renaissance genre theorists, inviting early modern authors to craft their own versions of the play’s ‘mixed mode’. In the New Arcadia, Philip Sidney rewrites the Phoenissae to privilege reconciliation over rage, but reframes this apparent comic gesture as the source of an escalating cycle of tragedy. In King Lear, William Shakespeare mobilizes the illusion of comic resolution that he found in Seneca’s play to heighten his protagonists’ irreversible suffering. Attending to the nuance and variety of Seneca’s tragic corpus as it was received by Renaissance readers reveals underexplored strands of Senecan influence on early modern literature, broadening the set of generic possibilities afforded by Seneca’s plays in the Renaissance to include tragicomedy and romance.", "license": "OUP standard", "cited_by": 0, "n_refs": 119, "refs_to_crj": 0, "funder": [ "Harvard University", "Emmanuel College, University of Cambridge" ], "n": 300 }, { "doi": "10.1093/crj/clac004", "year": 2022, "vol": "14", "issue": "4", "title": "Graecia Belgica : writing Ancient Greek in the early modern Low Countries", "authors": [ { "name": "Han Lamers", "family": "Lamers", "orcid": null, "affil": [] }, { "name": "Raf Van Rooy", "family": "Van Rooy", "orcid": "https://orcid.org/0000-0003-3739-8465", "affil": [] } ], "abstract": "The early modern Low Countries formed a multilingual region where Latin and several vernaculars lived in symbiosis. It is often forgotten, however, that Ancient Greek was also cultivated among the cultural and intellectual elite, so intensely that a vast corpus of Greek texts was produced in this region. This article offers a first exploration of the reasons behind this cultural phenomenon. It starts with a general introduction, including a state of research in the field and a first survey of the source materials. The main body of the article is divided into two parts. The first situates the so-called New Ancient Greek literature of the early modern Low Countries in historical perspective by introducing first Greek studies and then Greek composition in this region. Against this background, the second part explores what motivated and inspired this Greek literary production in four sections, each discussing an important aspect of the phenomenon under study: language learning, cultural distinction, networks and communities, and aesthetic appreciation. The article thus demonstrates that writing in Greek in the early modern era had uses far beyond showing off one’s literary talent and erudition.", "license": "CC by-nc/4.0", "cited_by": 1, "n_refs": 0, "refs_to_crj": 0, "funder": [ "Research Foundation — Flanders", "European Union's Horizon 2020 research and innovation programme" ], "n": 301 }, { "doi": "10.1093/crj/clac005", "year": 2022, "vol": "14", "issue": "4", "title": "Correction to: Shakespeare’s suppliants: the ‘rotten custom’ of ancient asylum seeking in Coriolanus", "authors": [ { "name": "Christina Wald", "family": "Wald", "orcid": null, "affil": [] } ], "abstract": null, "license": "OUP standard", "cited_by": 0, "n_refs": 0, "refs_to_crj": 0, "funder": [], "n": 302 }, { "doi": "10.1093/crj/clac014", "year": 2022, "vol": "14", "issue": "4", "title": "The Homeric Διὸς ἀπάτη and its reuse within the seventeenth-century Portuguese epic poem Ulisseia ou Lisboa Edificada", "authors": [ { "name": "Rui Carlos Fonseca", "family": "Fonseca", "orcid": "https://orcid.org/0000-0002-0016-0763", "affil": [] } ], "abstract": "Ulisseia ou Lisboa Edificada (Ulysseia or Lisbon Founded) is a seventeenth-century epic poem written by Gabriel Pereira de Castro, which celebrates the mythical arrival of Ulysses in Lusitania and the subsequent foundation of Ulisseia by him. This city built by Greek hands comes to be Lisbon, the head of a great navy empire at the time of Portuguese Discoveries. This epic reshapes both the Odyssean sea voyages and Iliadic warfare, whereas Ulysses, the same crafty wanderer as the Homeric Odysseus, is also the bearer of a god-given mission like the Virgilian Aeneas. In this article, I examine the refashioning of the Homeric Διὸς ἀπάτη (‘Deception of Zeus’) in Ulisseia book 10 from a comparative and literary perspective. Castro follows his Greek model very closely, but at the same time it departs from it in important ways. In portraying the deceitful planning of Hera, with its erotic and humorous tone, he adapts it to the nationalistic purposes of his own epic story. Juno’s plan is granted a more serious tone, since its effects on the war between Greeks and Lusitanians are directly linked to the glorious Destiny of the Portuguese people.", "license": "OUP standard", "cited_by": 0, "n_refs": 36, "refs_to_crj": 0, "funder": [ "Fundação para a Ciência e a Tecnologia" ], "n": 303 }, { "doi": "10.1093/crj/clac015", "year": 2022, "vol": "14", "issue": "4", "title": "Prometheus in Russia: from revolution to dissidence", "authors": [ { "name": "Ekaterina But", "family": "But", "orcid": "https://orcid.org/0000-0001-5333-5195", "affil": [] } ], "abstract": "This essay examines the development of the image of Prometheus as a symbol of the revolutionary in Russia and the Soviet Union. After providing a historical overview of pre-Soviet and early-Soviet receptions of Prometheus’ image in Alexander Scriabin’s symphony Prometheus: The Poem of Fire (Prometei: Poema Ognia, 1908–10) and in the unfinished production of the ancient Greek tragic trilogy at the Moscow Art Theatre (1925–27), I focus on the analysis of Prometheus’ myth in three screen adaptations: the 1936 film Prometheus (Prometei) by Soviet Ukrainian director Ivan Kavaleridze and the animated films The Return from Olympus (Vozvrashchenie s Olimpa, 1969), and Prometheus (Prometei, 1974) by Alexandra Snezhko-Blotskaya. I demonstrate that, besides the animation films directed by Snezhko-Blotskaya, the rest of the receptions were not successful at the time of their production. I examine how the creative programs of these projects did not fit the contemporary context, institutional framework, or official ideology because of technical, aesthetical, and political reasons. I argue that the screen receptions of Prometheus’ myth employed Prometheus’ image to reflect on and to address the changing political and cultural climate of the Soviet Union during critical periods of its history.", "license": "OUP standard", "cited_by": 4, "n_refs": 101, "refs_to_crj": 0, "funder": [], "n": 304 }, { "doi": "10.1093/crj/clac018", "year": 2022, "vol": "14", "issue": "4", "title": "The Humed Serpent: Lucian, miracles, enlightenment, and empire", "authors": [ { "name": "Martin Devecka", "family": "Devecka", "orcid": null, "affil": [ "University of California, 135 Clay St, Unit H , Santa Cruz, CA 95060 , USA", "Associate Professor of Classics at the University of California , Santa Cruz , USA" ] } ], "abstract": "In his essay ‘Of Miracles’, published separately and as the final chapter of his Enquiry Concerning Human Understanding, David Hume enlists Lucian’s Alexander, or the False Prophet as evidence for his claim that miracle narratives first take root among gullible rural populations before spreading to cultured city-dwelling elites. This essay reads Lucian’s Alexander and On the Death of Peregrinus against the Humean grain to suggest that miracle stories emerge as a consequence of the forms of commerce and circulation enabled by empires. In light of this, I recharacterize Hume’s geography of gullibility as an aspirational but unsustainable ideal engendered by the emergence of an eighteenth-century ‘Republic of Letters’.", "license": "OUP standard", "cited_by": 0, "n_refs": 42, "refs_to_crj": 0, "funder": [], "n": 305 }, { "doi": "10.1093/crj/clac003", "year": 2022, "vol": "15", "issue": "1", "title": "‘This is how I explain the universality of Xenophon’: Machado de Assis, Brazilian Republic and the Cyropaedia", "authors": [ { "name": "Lucia Sano", "family": "Sano", "orcid": "https://orcid.org/0000-0003-3928-4277", "affil": [] } ], "abstract": "Joaquim Maria Machado de Assis (1839–1908), considered by many the greatest Brazilian author, was once called a Greek of the golden days due in part to his frequent use of classical allusions. This article analyses the reception of Xenophon's Cyropaedia in his novel Esau and Jacob (1904). Its narrator quotes the Greek author’s reflection on the instability of all political regimes and his conclusion that man is the most difficult animal for man to govern. In a chronicle published in 1894, Machado de Assis had already mocked Xenophon’s perceived universality focusing on this same passage, which he finds contradictory. This is also highlighted in the novel where the quote reflects on the transition from monarchy to republic in late nineteenth-century Brazil. The use of classical references is characteristic of Machado’s unreliable narrator who both reveals political differences quite specific to Brazilian public life and who is himself a product of that society; it follows that ancient political ideals are reinterpreted to mirror this modern Latin American democracy.", "license": "OUP standard", "cited_by": 1, "n_refs": 31, "refs_to_crj": 2, "funder": [], "n": 306 }, { "doi": "10.1093/crj/clac016", "year": 2022, "vol": "15", "issue": "1", "title": "Sophia’s double: photography, archaeology, and modern Greece", "authors": [ { "name": "Jennifer M S Stager", "family": "Stager", "orcid": null, "affil": [] } ], "abstract": "In the context of the entangled productions of scientific archaeology, photographic technologies, and the Greek nation-state, this article analyses the ancient Greek idea of the eidōlon (image, phantom, double) as a paradigm for photography. Sophia Engastromenou Schliemann presented herself for the camera as Helen of Troy and mobilized an ancient textual debate about Helen and her double and the Trojan War. This image of Sophia adorned in Trojan gold is widely known and little studied and, as this essay will explore, it circulated far beyond Sophia’s control. Undergirding this article’s historical contingencies is an exploration of the photograph as eidōlon.", "license": "OUP standard", "cited_by": 2, "n_refs": 103, "refs_to_crj": 0, "funder": [], "n": 307 }, { "doi": "10.1093/crj/clac017", "year": 2022, "vol": "15", "issue": "1", "title": "Pygmalion and Medusa as Cixous’ writing women in InSEXts : ‘I Write Woman’", "authors": [ { "name": "Natalie J Swain", "family": "Swain", "orcid": null, "affil": [ "Department of Classics, The University of Winnipeg , Winnipeg, Manitoba , Canada" ] } ], "abstract": "Set in nineteenth century Europe, InSEXts tells the story of Lady Bertram and Mariah, two women in a romantic relationship who can transform into insects in order to defend their nascent family. In the second arc of the series, The Necropolis, Lady Bertram, and Mariah are joined by Phoebe (a Black, transgender artist) whose friends are being transformed into art by members of the patriarchal art community, who value women only as silent and beautiful Muses. Allying with ‘Medusa’, a misidentified Javanese goddess who has been forcibly brought to Europe, Lady Bertram and Mariah thus enter a narrative replete with Greek and Roman mythology. In this paper, the author sets out to demonstrate that, through the receptions of Pygmalion and Medusa, InSEXts: The Necropolis effectively reflects Cixous’ ‘Laugh of the Medusa’, replicating the empowerment of female creativity which Cixous suggests. By mirroring these Ovidian intertexts and becoming ‘writing women’ themselves, comics creators Bennett and Kristantina allow their own characters to re-write and subvert traditional narratives, to tell their own stories that represent elements of Ovidian narrative to respond to and embody the kind of female creativity advocated by Cixous.", "license": "OUP standard", "cited_by": 1, "n_refs": 60, "refs_to_crj": 0, "funder": [], "n": 308 }, { "doi": "10.1093/crj/clac019", "year": 2022, "vol": "15", "issue": "1", "title": "Correction to: Sophia’s double: photography, archaeology, and modern Greece", "authors": [], "abstract": null, "license": "OUP standard", "cited_by": 0, "n_refs": 0, "refs_to_crj": 0, "funder": [], "n": 309 }, { "doi": "10.1093/crj/clac020", "year": 2023, "vol": "15", "issue": "1", "title": "‘Beginning wherever you wish’: Sappho, Homer and the Homeric Hymn to Demeter in Theresa Hak Kyung Cha’s Dictée", "authors": [ { "name": "Paul G Johnston", "family": "Johnston", "orcid": null, "affil": [ "Department of the Classics , 204 Boylston Hall, Harvard University, Cambridge, MA 02138 , USA", "Classical Philology and Comparative Literature at Harvard University" ] } ], "abstract": "Theresa Hak Kyung Cha’s Dictée expresses, in experimental and avant-garde form, the fragmented, disrupted and multilinguistic experiences of its author and her family against the tumultuous backdrop of twentieth-century Korean history. In the decades since its publication, the text has become established as a cornerstone of Asian American literary studies. This essay reads Dictée through the lens of its engagement with the ancient Greek classics, identifying how Cha responds to Sappho, Homer and the Homeric Hymn to Demeter in the context of her subversive and irreverent poetics. It demonstrates the important role that the Western classical tradition plays in Dictée as a structural and communicative resource for Cha’s expression of her migratory identity as a Korean refugee in the United States. Cha engages with some of ancient Greece’s most canonical texts from a direction that is radically askew from the typical approaches of classical scholarship, mediated in part by twentieth-century writers like James Joyce and Monique Wittig, advancing understandings of classical material that are feminist, anti-imperial and non-Eurocentric. Dictée should be recognized not just as a landmark of Asian American literature, but also as one of the most original creative responses to Greco-Roman antiquity of the late twentieth century.", "license": "OUP standard", "cited_by": 0, "n_refs": 66, "refs_to_crj": 0, "funder": [], "n": 310 }, { "doi": "10.1093/crj/clac021", "year": 2023, "vol": "15", "issue": "1", "title": "From ‘the land of the rising sun’ to ‘the countries of the sun’: Mishima Yukio in Greece and Italy", "authors": [ { "name": "Xiaoxi Zhang", "family": "Zhang", "orcid": null, "affil": [ "Department of History, Shanghai University , 333 Nanchen Rd., Baoshan District, Shanghai 200444 , China" ] } ], "abstract": "The famous Japanese author Mishima Yukio is known to have been keenly interested in ancient Greek culture. In this article, I seek to explain how his visit to Greece and Italy in the spring of 1952 intensified his philhellenism. To such an end, I will rely on Mishima’s travelogue titled Apollo’s Cup, which was published in the fall of that same year. I will pay close attention to Mishima’s encounters with the ancient ruins in Athens and with the sculptures of Antinous in the Vatican City, because they were the highlights of Mishima’s trip. I will argue that Mishima’s philhellenism was driven by his personal needs at the time and heightened by his fascination for the materiality of ancient Greece, since the ‘placeness’ of ancient Greece allowed Mishima not only to position and approach ancient Greece but also to idealize ancient Greece.", "license": "OUP standard", "cited_by": 1, "n_refs": 32, "refs_to_crj": 0, "funder": [], "n": 311 }, { "doi": "10.1093/crj/clac022", "year": 2023, "vol": "15", "issue": "1", "title": "Jocasta’s last hours: identity, responsibility, and violence in Martha Graham’s Night Journey", "authors": [ { "name": "Nina Papathanasopoulou", "family": "Papathanasopoulou", "orcid": null, "affil": [ "College Year in Athens , Athens , Greece" ] } ], "abstract": "This paper analyses Martha Graham’s Night Journey in relation to its primary model, Sophocles’ Oedipus Tyrannos. Night Journey captivates us by drawing deeply on Sophocles’ original and invites us to turn our focus to the last hours of Jocasta’s life, a moment to which Sophocles’ play gives comparatively little attention. I argue that Graham’s focus on the last hours of Jocasta’s life brings fresh illumination to our interpretation of the Oedipus myth. I first discuss the dance’s narrative technique and then analyse three themes that are central to both Sophocles’ and Graham’s works: questions of identity; responsibility; and the deep-seated human urge toward violence in the face of anxiety. In each case I show how Graham transforms Sophocles’ treatment of these themes and explores them through the character of Jocasta and a chorus of women, making women the focus of the narrative’s meditations on the nature of identity, moral responsibility, and human emotion.", "license": "OUP standard", "cited_by": 2, "n_refs": 34, "refs_to_crj": 0, "funder": [], "n": 312 }, { "doi": "10.1093/crj/clac023", "year": 2023, "vol": "15", "issue": "2", "title": "Between Bacchae and Bahanalii —balkanizing classical reception", "authors": [ { "name": "Nebojša Todorović", "family": "Todorović", "orcid": "https://orcid.org/0000-0002-0712-4546", "affil": [] } ], "abstract": "This article sets Euripides’ Bacchae in dialogue with Goran Stefanovski’s Bahanalii, a play that was performed in the immediate aftermath of Yugoslavia’s break-up. Contrapuntal reading shows how the two plays problematize conservative epistemologies by imagining their borderlands as privileged sites of knowledge production. Euripides’ Bacchae opens with a Dionysus who arrives on stage from a faraway land where Greeks and non-Greeks live mixed together. My reading of this passage challenges Edward Said’s interpretation of the Bacchae as a play about the dangers of ‘what lies beyond familiar borders’. Instead, the Bacchae performs an exercise in literary imagination in which a border-minded worldview responds to Athens’ dwindling geopolitical prestige, resists narratives of Greek exceptionalism inherited in the aftermath of the Persian wars, and foresees a return to a kind of Hellenic balkanization avant la lettre. In Bahanalii, Stefanovski resists idealizing mindsets by staging a contradictory Dionis, one that focalizes the epistemological power of the border, while also embodying the uncanny poltergeist of the violence that plagued Yugoslavia in the 1990s. In juxtaposing the narratives of Yugoslav and ancient Athenian exceptionalism, this comparison unlocks a ‘balkanizing’ paradigm of classical reception which complements and complicates existing theoretical accounts of classical reception.", "license": "OUP standard", "cited_by": 0, "n_refs": 46, "refs_to_crj": 2, "funder": [], "n": 313 }, { "doi": "10.1093/crj/clad001", "year": 2023, "vol": "15", "issue": "2", "title": "‘If Clodia despised Catullus, you can very well, Dionysus, despise Ariadne’: classical receptions and Roman elegy in Hilda Hilst’s Discontinuous and Remote Ode for Flute and Oboe. From Ariadne to Dionysus (1969)", "authors": [ { "name": "Fernando Gorab Leme", "family": "Gorab Leme", "orcid": null, "affil": [] } ], "abstract": "After her depiction in Catullus 64, Ariadne became a model for the relicta, the abandoned woman. The tapestry that ornamented the wedding of Peleus and Thetis told exactly of her dismay and anger upon learning that Theseus left her. As far as the myth goes, following her abandonment, Dionysus took her as a wife. Modernist Brazilian author Hilda Hilst (1930–2004) revisits this portion of the tale in her cycle of ten poems Discontinuous and Remote Ode for Flute and Oboe. From Ariadne to Dionysus (1969). This introduces the poems as works of reception vis-à-vis the ancient figurations of Ariadne, as well as the context of Hilst’s biography, it analyses them as reimaginations of the Roman elegy, and presents their first complete English translation, all original endeavours. On the surface, Hilst’s Ariadne fashions herself as a learned poet who reads Catullus and rejoices in her abandonment. I argue that upon a closer look, however, this endlessly unrequited woman desires instead union and permanence. Hilst, herself an underappreciated and disreputable figure, unveils Ariadne’s labyrinthic mind as she negotiates her devotion to poetry and her desire for the man she loves, revealing the afterlife of the myth of a heroine who found her own voice.", "license": "OUP standard", "cited_by": 0, "n_refs": 36, "refs_to_crj": 1, "funder": [], "n": 314 }, { "doi": "10.1093/crj/clad002", "year": 2023, "vol": "15", "issue": "2", "title": "Henrik Ibsen, Emperor Julian, and the crisis of faith in modernity", "authors": [ { "name": "Brad Boswell", "family": "Boswell", "orcid": null, "affil": [] }, { "name": "Matthew R Crawford", "family": "Crawford", "orcid": null, "affil": [] }, { "name": "Anna Stavrakopoulou", "family": "Stavrakopoulou", "orcid": null, "affil": [] } ], "abstract": "Although it is one of his lesser known and performed plays, Henrik Ibsen considered Emperor and Galilean to be his Hovedverk—his ‘main’ or ‘pivotal’ work—in which he finally presented his positive worldview. It remains comparatively little studied in scholarship, though one scholar has recently argued that it is the key to unlocking his entire corpus. The present study builds upon past scholarship uncovering the works Ibsen drew upon in writing the play but goes beyond the mere question of its historical sources and accuracy to consider Ibsen’s purpose for including the specific and precise pieces of historical texture he chose in the particular order and configuration he devised. In short, we aim to identify the creative purposes for his curating of the historical details he took from his sources. What emerges from our analysis is that, even when Ibsen is following the sources, his protagonist stands out as a strikingly modern figure, more at home in the nineteenth century than the fourth. Ibsen portrays his Julian struggling with doubt and uncertainty of a distinctly modern caste; he puts in his mouth criticisms of Christianity that stem from modernity rather than the historical figure; and he suggests that, just as Christianity had to prove victorious over paganism in late antiquity, so Christianity itself must be superseded in the modern era, though perhaps some aspects of it are worth preserving in the yet-to-arrive third empire.", "license": "CC by/4.0", "cited_by": 1, "n_refs": 46, "refs_to_crj": 0, "funder": [], "n": 315 }, { "doi": "10.1093/crj/clad003", "year": 2023, "vol": "15", "issue": "2", "title": "Performing history and cultural memory through ancient drama: the case of contemporary Polish theatre", "authors": [ { "name": "Małgorzata Budzowska", "family": "Budzowska", "orcid": "https://orcid.org/0000-0002-1953-2088", "affil": [] } ], "abstract": "By the mode of representation of human life processes, theatre from its very beginning has contributed to maintaining or confronting a given social order, so as to complete its ethico-political function. One of the genuinely politically involved issues to discuss in theatre has become the past. However, on stage, history is recalled to serve both the present and the future in order to construct and develop cultural memory. Classical reception provides a comprehensive method of coping with the past, empowering the performance of the political. This article ponders the development of the ethico-political function of contemporary theatre in Poland by providing three case studies of productions that perform history and cultural memory in a specifically chosen location: Orestes by Michał Zadara, Ajax. The Machine by Natalia Korczakowska, and Wałęsa at Colonus by Bartosz Szydłowski. The conceptual framework of the analysis is constructed from the idea of the political, adapted to the specificity of the Romantic paradigm that furnishes the ground for the study of performing history and cultural memory in Polish theatre. The issue in focus is to observe how the classical reception of ancient dramas can be a performance of the political through an indirect recalling of the historical past.", "license": "CC by/4.0", "cited_by": 2, "n_refs": 48, "refs_to_crj": 0, "funder": [], "n": 316 }, { "doi": "10.1093/crj/clad004", "year": 2023, "vol": "15", "issue": "2", "title": "Indigenous Medea: space, time, and resistance in Wesley Enoch’s Black Medea", "authors": [ { "name": "Clare Kearns", "family": "Kearns", "orcid": null, "affil": [] } ], "abstract": "In Wesley Enoch’s 2000 play Black Medea, Seneca’s Medea is reworked for settler-colonial Australia: Enoch’s Medea is an Indigenous woman from an unnamed Land who falls in love with Jason, an Indigenous man from the city with ambitions to succeed by settler-colonial standards. Against the will of her family, Medea reveals to Jason the natural resources lying underneath her Land and allows him to overturn the sacred earth in pursuit of profit for a Western corporation. The tragedy chronicles the subsequent demise of Jason and Medea’s relationship in the settler city and Medea’s filicidal retaliation for Jason’s crimes. Despite the radically different setting of Black Medea from its Roman antecedent, the two plays share numerous thematic concerns as well as several key moments in which the Senecan text is quoted verbatim. This essay contends that in Black Medea, Enoch apprehends topoi of displacement and temporal normativity from Seneca’s Medea and mobilizes them to elucidate the conditions of Indigenous Australians under settler colonialism. By doing so, he offers critical insight towards the use of Indigeneity as an analytic for Medea myths ancient and modern.", "license": "OUP standard", "cited_by": 0, "n_refs": 31, "refs_to_crj": 0, "funder": [], "n": 317 }, { "doi": "10.1093/crj/clad005", "year": 2023, "vol": "15", "issue": "2", "title": "Mythological heroes on Czech stages and politics: the case of Phaethon and Antigone", "authors": [ { "name": "Daniela Čadková", "family": "Čadková", "orcid": "https://orcid.org/0000-0001-9037-4038", "affil": [] } ], "abstract": "Czech culture and society have abundant experience of repressive regimes and political oppression, as well as censorship and bans on speaking publicly and critically about the political situation. This article focuses on two dramatizations of ancient Greek myth and demonstrates their connection with politics: Phaethon by Otakar Theer (1917) is an expression of rebellion against the bondage of the Czech nation in the Austro-Hungarian Monarchy, while The Whore from the City of Thebes by Milan Uhde (1967), a paraphrase of Sophocles’ Antigone, is a cynical analysis of the state of civil society in totalitarian communist Czechoslovakia. These plays tried to appeal to the audiences of the time allegorically, using ‘Aesopian language’ and parables. Both reinterpretations of Greek myth are analysed in their historical and cultural context and compared with contemporary adaptations of classical Greek tragedies.", "license": "OUP standard", "cited_by": 0, "n_refs": 40, "refs_to_crj": 2, "funder": [], "n": 318 }, { "doi": "10.1093/crj/clad006", "year": 2023, "vol": "15", "issue": "3", "title": "Correction to: ‘Beginning wherever you wish’: Sappho, Homer and the Homeric Hymn to Demeter in Theresa Hak Kyung Cha’s Dictée", "authors": [], "abstract": null, "license": "OUP standard", "cited_by": 0, "n_refs": 0, "refs_to_crj": 0, "funder": [], "n": 319 }, { "doi": "10.1093/crj/clad007", "year": 2023, "vol": "15", "issue": "3", "title": "‘Meteorology’ and ‘meteors’ across centuries: a short history of two problematic terms", "authors": [ { "name": "Matěj Novotný", "family": "Novotný", "orcid": null, "affil": [] }, { "name": "Barbora Kocánová", "family": "Kocánová", "orcid": null, "affil": [] }, { "name": "Miloslav Müller", "family": "Müller", "orcid": null, "affil": [] } ], "abstract": "The article is dedicated to meaning variations and transformations in the terms meteorology and meteor from antiquity to the present. It is argued that the use of the word meteor as a noun denoting a specific meteorological phenomenon only became established in the Renaissance, as the Greek adjective μετέωρος ‘raised, aloft’ in the substantivized neuter form was originally used in the plural to denote objects in the high in a very general way and in the singular to denote an area, not an object. In the Middle Ages, in contrast, it was the Latin terms impressio or passio that were generally employed to denote meteorological phenomena. An emphasis is also placed on how the term meteorology was problematic in a way from the very beginning, rather than only today, when the term meteor has become more astronomical than meteorological in its first meaning, and efforts have been made to replace the name of the science with completely different terms.", "license": "OUP standard", "cited_by": 0, "n_refs": 0, "refs_to_crj": 0, "funder": [], "n": 320 }, { "doi": "10.1093/crj/clad008", "year": 2023, "vol": "15", "issue": "3", "title": "The rape-pregnancy plots of Roman comedy and their reception in nineteenth-century Greece: the case of The Pot of Basil by Antonios Matesis", "authors": [ { "name": "Christopher Jotischky", "family": "Jotischky", "orcid": "https://orcid.org/0000-0003-4025-5078", "affil": [] } ], "abstract": "Plots in which a woman is raped and left pregnant are common in Roman comedy, but the cultural meaning of unwanted pregnancy and its relationship to women’s personal freedoms and bodily autonomy varies across reception contexts. Antonios Matesis (1794–1875) translated Terence’s Hecyra into vernacular Greek in the 1820s before going on to compose a comedy of his own, The Pot of Basil, which is influenced by Terence’s play. Nevertheless, Matesis refocuses the emotional dynamics of Terence’s plot in order to focus on Garoufalia, the pregnant woman, whose counterpart in Terence never appears onstage. This narrative trajectory situates the play within a local Zakynthian context, with contemporary literary works such as the Autobiography of Elisavet Moutzan-Martinengou (1801–32) also offering a critical examination of women’s life on the island. The influence of Terence places Matesis squarely in a European tradition of Roman comic reception, but reading his play alongside Moutzan-Martinengou’s work demonstrates how closely Matesis is entwined with debates concerning the status of women in the area which was the historical faultline between Venetian and Ottoman spheres of influence.", "license": "OUP standard", "cited_by": 0, "n_refs": 38, "refs_to_crj": 0, "funder": [], "n": 321 }, { "doi": "10.1093/crj/clad009", "year": 2023, "vol": "15", "issue": "3", "title": "In Search of Lost Haim : Homer and Heimat in the Dialectic of Enlightenment", "authors": [ { "name": "David Youd", "family": "Youd", "orcid": null, "affil": [] } ], "abstract": "In this essay, I return to Horkheimer and Adorno’s reading of the Odyssey in the Dialectic of Enlightenment to suggest that Odysseus’s crew comes to figure ‘the Jew’ as a representative of nature in the antisemitic Imaginary—the nature that enlightenment continues to repress. Escape from enlightenment’s deadlock will depend on the ‘remembrance’ of that nature, an operation itself considered ‘Jewish’ and enacted in the epic’s dialectical form.", "license": "OUP standard", "cited_by": 1, "n_refs": 30, "refs_to_crj": 0, "funder": [], "n": 322 }, { "doi": "10.1093/crj/clad010", "year": 2023, "vol": "15", "issue": "3", "title": "Shakespeare and Plautus: exploring metrical influence", "authors": [ { "name": "Alexander Christensen", "family": "Christensen", "orcid": "https://orcid.org/0000-0002-8708-6091", "affil": [] } ], "abstract": "Scholars have recognized for some time that Shakespeare’s early comedies drew much from Plautine comedy. Although these points of influence have long been established, discussion of Plautus’ influence on Shakespeare has not often moved beyond them to broader questions of whether he had any influence over Shakespeare’s tragedies, over his later career in general, or over more specific techniques of playwriting, like characterization or metrical composition. This article takes up these latter two issues. I argue that Shakespeare’s use of metrical variation in his most sympathetic characters’ soliloquies correlates closely with Plautus’ practice of using polymetric songs to introduce his most sympathetic characters. As examples, I analyse Shakespeare’s Hamlet and Plautus’ Trinummus. Though no conclusive evidence can be found to prove that Shakespeare digested Plautus’ metrics in addition to his comic plots, the article suggests that Plautus’ influence on Shakespeare could run deeper than previously thought.", "license": "CC by/4.0", "cited_by": 0, "n_refs": 29, "refs_to_crj": 0, "funder": [], "n": 323 }, { "doi": "10.1093/crj/clad011", "year": 2023, "vol": "15", "issue": "4", "title": "Placing ‘moderns’ in a ‘classic’ series: the case of J. M. Dent’s Everyman’s Library", "authors": [ { "name": "Caterina Domeneghini", "family": "Domeneghini", "orcid": null, "affil": [ "Faculty of English Language and Literature; Wolfson College , Linton Road, Oxford OX2 6UD , UK" ] } ], "abstract": "This study offers a reappraisal of Everyman’s Library, the mass-market series of world 'classics' launched by the British publisher J. M. Dent & Sons in 1906. The collection’s reliance on the 1842 and 1911 Copyright Acts has fostered a misconception within literary studies: namely, that reprint series were ‘impervious to novelty’. Conversely, I argue that ‘liveliness’ and ‘timeliness’—being in line with current trends and (re)printed at the right moment—became fundamental ‘classic’ attributes during the interwar years. Everyman advanced a rhetoric of the ‘new’ besides a rhetoric of the ‘old’, based on the idea that what consecrated both terms was only the passage of time, a gaze from the future. When Dent’s series started featuring more contemporaneous authors, the American Modern Library (1917), formally considered its modern(ist) alter ego, began including more ‘classic’ literature instead. Both series exploited the tension between ancients and moderns as profitable: Confucius and Horace were advertised as ‘the classics which are still modern: the modern works which have become classics’. Exploring the blurry boundaries between ‘classic’ and ‘modern’ as marketing categories, this paper draws on the J. M. Dent & Sons Records, Chapel Hill to bridge the gap between modernism and mass production.", "license": "CC by/4.0", "cited_by": 0, "n_refs": 43, "refs_to_crj": 0, "funder": [], "n": 324 }, { "doi": "10.1093/crj/clad012", "year": 2023, "vol": "15", "issue": "4", "title": "A Feminist Act of Defiance: ‘Iphigenia says no’ by Katerina Anghelaki-Rooke", "authors": [ { "name": "Liana Giannakopoulou", "family": "Giannakopoulou", "orcid": null, "affil": [ "Modern Greek Section, Faculty of Modern Languages and Linguistics, University of Cambridge , 32 Coleridge Walk, London NW11 6AT , UK" ] } ], "abstract": "In ‘Iphigenia says no’, Anghelaki-Rooke provides a critique of the myth of Iphigenia’s sacrifice that gives the story a distinctively feminine poetic voice designed to subvert the unchallenged authority of myth. Her poem is an impassioned plea for a feminist poetics that gives women a voice and agency, rejecting any form of control or authority over the female mind and body. The choice of Euripides’ tragedy Iphigenia at Aulis and an emphasis on the chorus are central to the anti-war message of the poem, but other contextual factors also frame the poet’s choice of myth and determine the direction of her rewriting: these are a feminist anti-war stance that is distinct from the anti-war stance of male poets like Seferis; the peace movements of the Cold War period and their political reverberations in Greece in the early 1960s; archaeological excavations and the renewed interest in the play that these inspired; classical reworkings in popular films of the years immediately prior to the writing of the poem; and the national curriculum and its underlying ideology.", "license": "CC by-nc/4.0", "cited_by": 2, "n_refs": 34, "refs_to_crj": 0, "funder": [], "n": 325 }, { "doi": "10.1093/crj/clad013", "year": 2023, "vol": "15", "issue": "4", "title": "Sophocles’ Antigone and Chinese Opera ( xiqu ): a discussion of hybridized and indigenized adaptations", "authors": [ { "name": "Chen Rongnyu", "family": "Rongnyu", "orcid": "https://orcid.org/0000-0002-1575-6738", "affil": [ "Institute of Comparative Literature, College of Literature, Beijing Language and Culture University , Xueyuan Road, Haidian District, Beijing 100083 , P. R. China" ] }, { "name": "Li Huiqin", "family": "Huiqin", "orcid": null, "affil": [ "Institute of Linguistic and Cultural Translation, School of Foreign Languages, Yili Normal University , No. 448, Jiefang West Road, Yining 835000 , P. R. China" ] } ], "abstract": "Sophocles’ Antigone has been the subject of numerous adaptations. Among these are two xiqu (Chinese opera) adaptations of Antigone, Hebei bangzi (Hebei clapper opera) Thebes City (2002) and jingju (Peking opera) Mingyue and Zihan (2015). This article compares these two works and the different ways that they adapt the text. The first strategy for adaptation is ‘hybridization’ in which the work is adapted and transformed according to local generic conventions and expectations, but a number of foreign elements remain. A second strategy is ‘indigenization’ in which the work is thoroughly assimilated into the local cultural form, and there are effectively no foreign elements. Both these strategies can be observed in looking at these Chinese adaptations of Antigone. After comparative discussion of the two xiqus, the article focuses on Thebes City, looking at the way that it combines the history and culture of ancient China with ancient Greece as well as the way in which it engages with Chinese culture through its depiction of ghosts. This element is singled out because it provides a mature example of hybridization at work. From discussions of these productions of Antigone, three key points emerge. The first is that adaptions of Greek drama in xiqu privilege creativity and performability over fidelity to an original text. The second is that when operatic conventions of xiqu are observed, the work is more likely to succeed. This seems to be the case with the tremendous local success of Thebes City. Thirdly, it is worth observing that the hybridized mode which is adopted in Thebes City is the most difficult to succeed with as it requires balancing diverse elements. Thebes City’s admirable success lies in its ability to achieve ‘harmony in diversity’.", "license": "OUP standard", "cited_by": 4, "n_refs": 41, "refs_to_crj": 1, "funder": [ "Discipline Team Support Program of Beijing Language and Culture University" ], "n": 326 }, { "doi": "10.1093/crj/clad014", "year": 2023, "vol": "15", "issue": "4", "title": "Commemorative Architecture, Periclean Athens and the Polish Revolution of 1791: Auguste de Choiseul-Gouffier’s Parthenon-Inspired Temple for Warsaw", "authors": [ { "name": "Mikołaj Getka-Kenig", "family": "Getka-Kenig", "orcid": "https://orcid.org/0000-0002-1180-064X", "affil": [ "L. & A. Birkenmajer Institute for the History of Science, Polish Academy of Sciences , Nowy Świat 72, 00-330 Warszawa , Poland" ] } ], "abstract": "Auguste de Choiseul-Gouffier’s design for the Temple of Providence in Warsaw, the Polish-Lithuanian Commonwealth’s capital, is the earliest known evidence of European fascination with the Parthenon as a model for modern commemorative architecture. However, it was this proposal’s specific political context which makes it especially interesting from the perspective of classical reception studies. It was an artistic reaction of an aristocratic philhellene to the destructive tendencies of the French Revolution on the eve of the Bourbon monarchy’s abolition. The choice of the Parthenon was expressive of Choiseul-Gouffier’s admiration for the idealized heritage of ancient aristocratic republicanism and its alleged relevance to the political culture of the modern ‘republic’ of Poland-Lithuania.", "license": "OUP standard", "cited_by": 0, "n_refs": 82, "refs_to_crj": 0, "funder": [ "National Science Centre, Poland" ], "n": 327 }, { "doi": "10.1093/crj/clad015", "year": 2023, "vol": "15", "issue": "4", "title": "Masters of desire: the (re)erotization of the slave’s body in cinematic and television representations of ancient Rome", "authors": [ { "name": "Luis Unceta Gómez", "family": "Unceta Gómez", "orcid": "https://orcid.org/0000-0002-9453-7719", "affil": [ "Departamento de Filología Clásica, Universidad Autónoma de Madrid, Edif. Facultad de Filosofía y Letras , Módulo III/Despacho 2.02, Campus de Cantoblanco, C/Fco. Tomás y Valiente 1, Madrid 28049, España" ] } ], "abstract": "The exhibition of the naked and near-naked bodies of enslaved people is a notable feature in cinematic representation of Rome. This article analyses the way in which these bodies are framed erotically and what an examination of this feature can tell us about the cinematic reception of ancient Rome. In this article, particular attention is paid to the erotization of the body of the slave within peplum films. Looking at these bodies allows us to see the gender dynamics at play in these films as well as the way in which cinema figures Rome as place of liberation and sexual licence. It also allows us to interrogate the power dynamics that operate in such systems of representation and explore the way that such films collocate regimes of pleasures with systems of domination and submission.", "license": "OUP standard", "cited_by": 1, "n_refs": 73, "refs_to_crj": 0, "funder": [ "La construcción de identidades y alteridades”" ], "n": 328 }, { "doi": "10.1093/crj/clad016", "year": 2023, "vol": "15", "issue": "4", "title": "Claude McKay’s vagabond classicisms: empire, uplift, and antiquity", "authors": [ { "name": "Ben Gregson", "family": "Gregson", "orcid": null, "affil": [ "Comparative Literature Harvard University , Dana-Palmer House, 16 Quincy Street, Cambridge, MA 02138 , USA" ] } ], "abstract": "This article examines the classicisms of the influential Jamaican writer, Claude McKay. Taking as paradigmatic an allusion to the myth of Laocoön in Banjo, it analyses McKay’s troubling of the classical notion of translatio imperii et studii throughout his work. Consistently rejecting imperium, McKay nevertheless embraced classical studium as a potential source of racial uplift and new creative expression. He resists both hegemonic Euro-American classicisms which appropriated Greco-Roman antiquity to authorize their imperial projects and simplistic Afrocentric classicisms which relocated imperial fantasies in Egypt and Ethiopia. However, McKay still admired the cultural legacies of Greco-Roman and African ancient civilizations. Freely and selectively enlisting these various, often-contradictory, classical traditions, McKay’s vagabond classicisms attacked empire, in all its forms, while reaffirming the aesthetic and social potential of decolonized and heterogeneous antiquities.", "license": "OUP standard", "cited_by": 0, "n_refs": 66, "refs_to_crj": 1, "funder": [], "n": 329 }, { "doi": "10.1093/crj/clad017", "year": 2023, "vol": "16", "issue": "2", "title": "Correction to: Placing ‘moderns’ in a ‘classic’ series: the case of J. M. Dent’s Everyman’s Library", "authors": [], "abstract": null, "license": "CC by/4.0", "cited_by": 0, "n_refs": 0, "refs_to_crj": 0, "funder": [], "n": 330 }, { "doi": "10.1093/crj/clad018", "year": 2023, "vol": "16", "issue": "2", "title": "‘The words of a nation worn down by cares’: classical wisdom and modern crisis in Lin Shu’s Aesop’s Fables", "authors": [ { "name": "Benjamin Porteous", "family": "Porteous", "orcid": "https://orcid.org/0000-0002-6110-4319", "affil": [ "Benjamin Porteous, Committee on Regional Studies East Asia, Harvard University , 1730 Cambridge Street, Suite 105, Cambridge, MA 02138 , USA" ] } ], "abstract": "This article analyses the remarkable translation of Aesop’s Fables produced by the Chinese literatus-turned-cultural-impresario Lin Shu [林紓; 1852–1924] at the turn of the twentieth century. Collaborating with colleagues proficient in English, which he himself was not, Lin translated the Fables into elegant Classical Chinese. This article examines the preface to the translation, which uses Aesop’s status as an enduring classical figure in Western education to argue for the continuing relevance of Classical Chinese in newly constituted school curricula. More importantly though, this article probes at the voluminous epimythia Lin composed for most of the fables in the collection. Written immediately after the humiliating Boxer Protocol, these present a feisty critique of Western imperialism in China. They range in topic from China’s lack of cultural self-confidence to comparative reflection on the status of enslaved Africans in the antebellum USA. Lin was a confident and wilful reader of texts; in his hands, the Fables become a foil for razor-edged polemic. His translation is surely one of the most culturally significant in the Fables’ long and murky textual history, and represents an overlooked monument of classical reception in an East Asia teetering on the violent edge of modernity.", "license": "OUP standard", "cited_by": 2, "n_refs": 0, "refs_to_crj": 0, "funder": [], "n": 331 }, { "doi": "10.1093/crj/clad019", "year": 2023, "vol": "16", "issue": "2", "title": "Medea/Media: a glitchy counterfactual", "authors": [ { "name": "Mario Telò", "family": "Telò", "orcid": null, "affil": [ "University of California Berkeley – Rhetoric , Dwinelle Hall, Berkeley, CA 94720 , USA" ] }, { "name": "Catherine Conybeare", "family": "Conybeare", "orcid": null, "affil": [ "Greek, Latin, and Classical Studies, Old Library Bryn Mawr College, , Bryn Mawr, PA 19010 , USA" ] } ], "abstract": "James Ijames, the winner of a 2022 Pulitzer prize for Fat Ham, loosely based on Hamlet, has just presented a new realization of Medea, Media/Medea, which had its world premiere at Bryn Mawr College and the Community College of Philadelphia in April 2023. This article provides a reading of it, addressing the themes of irony, queer ‘authenticity’, acting, and mothering through the framing of the ‘glitchy counterfactual’ — a conceit we borrow from Legacy Russell’s manifesto for a new Black cyberfeminism to approach the most blatant innovation in Ijames’s version, the unfulfilled infanticide. This astonishing change in the script, which tightly connects Medea with her onomastic negativity and queer unbecoming, urges us to reflect upon survival and survivance in an anti-Black world; it might yield a reckoning in line with Kevin Quashie’s notion of ‘subjunctivity’, Black ‘aliveness’.", "license": "OUP standard", "cited_by": 1, "n_refs": 63, "refs_to_crj": 1, "funder": [], "n": 332 }, { "doi": "10.1093/crj/clad020", "year": 2023, "vol": "16", "issue": "2", "title": "‘Dance against the void’: Derek Jarman, dance, queer classical receptions", "authors": [ { "name": "Marcus Bell", "family": "Bell", "orcid": null, "affil": [ "Classical Languages and Literature, St. Hilda’s College , Oxford OX4 1DY , UK" ] } ], "abstract": "This article considers three moments from the beginning, middle and end of Derek Jarman’s artistic career: Lindsay Kemp’s opening dance in Sebastiane (1976), Jarman’s words on a performance by Michael Clark in the 1980s, and Jarman’s last film Blue (1993), while holding onto the affective registers of his final diary entry (1994). Considering the ways in which Jarman indexed the ephemeral myth-making processes of queer life and art, the author develops a new kinetic-temporal methodology for exploring reception based on the fleeting queer modalities of dance. As such this article makes a series of important connections between classical reception studies, queer theory, critical theory, and dance studies. It argues that, despite the fleeting, erotic, and partial engagements with the past offered by Jarman — which challenge ideas of fixity or lineage — an identification nevertheless emerges with the hierarchies of white supremacist imperialism.", "license": "CC by-nc/4.0", "cited_by": 3, "n_refs": 76, "refs_to_crj": 3, "funder": [], "n": 333 }, { "doi": "10.1093/crj/clad021", "year": 2023, "vol": "16", "issue": "2", "title": "Female agents of Hell, Stoic luxury, and failing leaders: Erictho, Tisiphone, and the female gaze in Lucan, Statius, Dante, and Boccaccio", "authors": [ { "name": "Eva Anagnostou-Laoutides", "family": "Anagnostou-Laoutides", "orcid": "https://orcid.org/0000-0002-1634-6941", "affil": [ "Department of History and Archaeology, Macquarie University , Sydney, NSW 2109 , Australia" ] } ], "abstract": "The Underworld imagery developed by Lucan (BC 6.507–830), Statius (Th. 4.345–645), Valerius Flaccus (Arg. 1.827–50), and Silius Italicus (Pun. 2 and 13) to reprove Rome’s power-hungry leaders, accused of the death of thousands in civil war battles, excited the imagination of Christian writers such as Lactantius, Ausonius, Jerome, and the Spanish Presbyter Iuvencus. The article explores the investment of this imagery with the Stoic notion of excess (luxury) and its impact on defining the Christian concept of sin as received and further developed by Dante and Boccaccio. So far, scholarly discussion has tended to focus on the Homeric overcoat of pietas and its opposite furor, which under the influence of Posidonius (135–51 BCE), came to be associated with traditional Roman virtues. Instead, I here focus on Erictho (Lucan) and Tisiphone (Statius) as symbols of sinful temptation and effeminizing excess (luxury), typically gripping its victims through the eyes. In response to these infernal female figures, Dante and Boccaccio attributed epic proportions to ethical life, turning it into a canvas on which they debated the Christian moral code of their times. The gendered principles underpinning sinful excess in both pagan and Christian authors are discussed, alongside the role of poetry in counter-proposing the figures of Piety and Clemency.", "license": "OUP standard", "cited_by": 0, "n_refs": 175, "refs_to_crj": 0, "funder": [], "n": 334 }, { "doi": "10.1093/crj/clad022", "year": 2023, "vol": "16", "issue": "2", "title": "Forging lesbians: Sappho and The Songs of Bilitis", "authors": [ { "name": "Cat Lambert", "family": "Lambert", "orcid": null, "affil": [ "Department of Classics, Cornell University , 120 Goldwin Smith Hall, Ithaca, NY 14853-0001 , USA" ] } ], "abstract": "In Les Chansons de Bilitis (‘The Songs of Bilitis’, 1894), Pierre Louÿs purports to have translated into French for the first time the long-lost Greek poems of Bilitis, a contemporary of Sappho. Classicists have often heralded Bilitis as a watershed moment for reclaiming the lesbian Sappho from the clutches of homophobic, misogynist philologists. This paper complicates this narrative by reframing Bilitis as an object that participates in a broader cultural — and potentially queer — history of forgery. Rather than categorizing Bilitis as a forgery per se, I use forgery (and related textual practices) as a lens for illuminating how Louÿs ‘plays’ the forger and how this performance relates to readers’ divergent desires and reactions. This lens also brings into focus the queer dynamics and effects of this text in relation to Sappho’s corpus. At the same time, following Kadji Amin’s cue to ‘deidealize queerness’ (2017), I show how such queer dynamics are inextricable from colonialist and patriarchal relations of power, in particular an Orientalizing tradition of forgeries by white European and American men. This framework illuminates the affective and political ramifications of forging queer narratives and identifications through the medium of this curious artefact.", "license": "CC by/4.0", "cited_by": 1, "n_refs": 37, "refs_to_crj": 0, "funder": [], "n": 335 }, { "doi": "10.1093/crj/clad030", "year": 2023, "vol": "16", "issue": "2", "title": "Lycanthropus adulescens : the classical element in MTV’s Teen Wolf (2011–17)", "authors": [ { "name": "Javier Martínez Jiménez", "family": "Martínez Jiménez", "orcid": "https://orcid.org/0000-0003-4132-4135", "affil": [ "Departamento de Prehistoria y Arqueología, Facultad de Filosofía y Letras, Universidad de Granada , 18071 Granada , Spain" ] } ], "abstract": "The adaptation of elements of Greek and Roman myth and folklore is a recurrent aspect of late-twentieth- and early-twenty-first-century fiction on page and screen. These elements are usually presented alongside other mythologies and serve to add depth and veracity to the world-building. This is no different in Teen Wolf, an MTV show that focused on Scott McCall’s journey through lycanthropy. However, in most modern fiction the classical element is one of many sources used in in-story world-building. This paper will present the many examples of the use of classical elements in Teen Wolf, including: the way the werewolves are presented as Lycaon’s descendants and with elements common to Roman versipelles, the way the classical past (historic, folkloric, mythic) is included as part of the intradiegetic lore, and how the show itself is built following ancient epic patterns with classical paradigms as points of reference.", "license": "OUP standard", "cited_by": 0, "n_refs": 87, "refs_to_crj": 1, "funder": [], "n": 336 }, { "doi": "10.1093/crj/clad031", "year": 2023, "vol": "16", "issue": "2", "title": "Correction to: Shakespeare and Plautus: exploring metrical influence", "authors": [], "abstract": null, "license": "OUP standard", "cited_by": 0, "n_refs": 0, "refs_to_crj": 0, "funder": [], "n": 337 }, { "doi": "10.1093/crj/clad023", "year": 2024, "vol": "16", "issue": "1", "title": "Afterword: memory and the past: fascism, spectacle, history", "authors": [ { "name": "Simonetta Falasca-Zamponi", "family": "Falasca-Zamponi", "orcid": "https://orcid.org/0000-0003-0125-390X", "affil": [ "Department of Sociology, University of California , Santa Barbara, CA 93106 , USA" ] } ], "abstract": "The Afterword addresses the efforts of Italian fascists to build an imaginary fascist community through the mythical appropriation of the past. It argues that fascism epitomized in a peculiarly contradictory and destructive manner the moderns’ reaction to what they perceived as the end of an era. The historical division between memory and history, established in the nineteenth century, engulfed the fascist movement and overlapped with other critical dichotomies that vexed Mussolini and his adepts as they pursued the revitalization of communal roots while simultaneously riding the train of change. The dualisms of community and society, tradition and modernity, and, at a more meta-level, sacred and profane confronted fascism with difficult dilemmas, eliciting responses that, as the contributors to this issue show, ultimately exposed fascism’s cultural incongruities and fallacies.", "license": "OUP standard", "cited_by": 0, "n_refs": 8, "refs_to_crj": 0, "funder": [], "n": 338 }, { "doi": "10.1093/crj/clad024", "year": 2024, "vol": "16", "issue": "1", "title": "Classical dance and Mediterranean imaginaries: Jia Ruskaja in Fascist Italy", "authors": [ { "name": "Patrizia Veroli", "family": "Veroli", "orcid": null, "affil": [ "Independent Scholar , Rome , Italy" ] } ], "abstract": "Russian dancer and film actress Jia Ruskaja (Evgeniya Borisenko, 1902–70) forged a rapidly rising career in Italy as a dancer, teacher and company director during the thirties. The author of La danza come un modo di essere (1927) was a female education reformer, whose Milan dance schools were subsidized by the Fascist Regime. In 1940, she was entrusted with the directorship of the newly founded Royal School for Classical Dance. Though inspired by Isadora Duncan, in the early thirties, Ruskaja added ballet to her modern dance since she considered it crucial for the sound training of the body. According to her, the century-old codified system of ballet, once mingled with the ability to make artfully crafted movements inspired by classical imagery (‘plastique’) and rhythmic gymnastics, could transform into a new and organic physical practice, able to create a new beginning in dance. Was this so? Could her modernized ballet, imbued with the Mediterranean myth that inspired a number of artists in the twenties and thirties, convey such a modernist futural thrust, or was it rather held captive by centuries-old balletic values and culture?", "license": "OUP standard", "cited_by": 1, "n_refs": 62, "refs_to_crj": 0, "funder": [], "n": 339 }, { "doi": "10.1093/crj/clad025", "year": 2024, "vol": "16", "issue": "1", "title": "Constructing a Hellenic modernism: Aeschylus at the ancient theatre of Syracuse (1914–30)", "authors": [ { "name": "Giovanna Di Martino", "family": "Di Martino", "orcid": "https://orcid.org/0000-0002-4135-4580", "affil": [ "University College London , Gower Street London, London WC1E 6BT , UK" ] } ], "abstract": "This article examines the aesthetic means employed in classical performances produced by the Institute of Ancient Drama (INDA) in Syracuse between 1914 and 1930, with a particular focus on performances of Aeschylus’ tragedies. The first part of this study traces the influences of late nineteenth- and early twentieth-century modernist and avant-garde movements on the Syracusan project, including the experiments pioneered by the radical French gauche, the German productions directed by Hans Oberländer with Ulrich von Wilamowitz-Mollendorf in the role of dramaturg and translator, as well as Max Reinhardt’s early engagements with ancient Greek drama and his vision of theatre (particularly his Theatre of the Five Thousand). It then discusses the aesthetic trajectory that productions of ancient Greek drama, and more specifically those of Aeschylus’ plays, underwent from INDA’s beginnings in 1914–30, when an all-fascist governing body was installed at its helm.", "license": "CC by/4.0", "cited_by": 0, "n_refs": 38, "refs_to_crj": 0, "funder": [], "n": 340 }, { "doi": "10.1093/crj/clad026", "year": 2024, "vol": "16", "issue": "1", "title": "Introduction A Hellenic Modernism: Greek Theatre and Italian Fascism", "authors": [ { "name": "Giovanna Di Martino", "family": "Di Martino", "orcid": "https://orcid.org/0000-0002-4135-4580", "affil": [ "Department of Greek and Latin, University College London , London , UK" ] }, { "name": "Eleftheria Ioannidou", "family": "Ioannidou", "orcid": "https://orcid.org/0000-0002-7423-5895", "affil": [ "Arts, Culture and Media, University of Groningen , Groningen , The Netherlands" ] }, { "name": "Sara Troiani", "family": "Troiani", "orcid": "https://orcid.org/0000-0001-6664-2696", "affil": [ "Centre for Classical and Humanistic Studies, University of Coimbra , Coimbra , Portugal" ] } ], "abstract": "The introduction to the special issue explores the central place of Greek theatre within the culture of Italian Fascism. Building on scholarship from the so-called cultural turn in the study of fascism, which variously identified fascism with a form of modernism, it demonstrates that a dialogue between modernism and classicism was fully at work in the performances of ancient drama occurring all over the Italian peninsula and in the colonies in North Africa. The term ‘Hellenic modernism’ is introduced here to underline the fusion of Greek theatre with distinctively modernist traits during the ventennio and provide an analytical tool for investigating the role of classical performances and spectacles within Fascism’s programme of cultural and national renewal.", "license": "CC by/4.0", "cited_by": 1, "n_refs": 48, "refs_to_crj": 0, "funder": [], "n": 341 }, { "doi": "10.1093/crj/clad027", "year": 2024, "vol": "16", "issue": "1", "title": "Ancient tragedy, yet modern music: musical compositions in the classical performances (1921–39)", "authors": [ { "name": "Giovanna Casali", "family": "Casali", "orcid": null, "affil": [ "Department of Cultural Heritage, University of Bologna , Bologna-Ravenna , Italy" ] } ], "abstract": "This contribution aims to analyse the role of music in the revival of Greek theatre that characterized twentieth-century Italy. In particular, it explores and compares the music composed for INDA productions between 1921 and 1939. From the beginning of the festival, music occupied a crucial role, thanks to Ettore Romagnoli’s emphasis on the musical component in reviving ancient Greek drama. The years from 1921 to 1927 were characterized by the collaboration between Romagnoli and Giuseppe Mulè, who attempted to revive ancient Greek music according to modern criteria. By 1930, the festival, run by an entirely Fascist committee, had taken on a nationalistic character, and music was integral to this. Indeed, during these years (1930–39), music acquired a pivotal role in emphasizing the heroic instances of ancient drama that had become functional to the Regime’s policy. Moreover, it was considered indispensable for this increasingly mass-oriented type of performance.", "license": "OUP standard", "cited_by": 1, "n_refs": 54, "refs_to_crj": 0, "funder": [], "n": 342 }, { "doi": "10.1093/crj/clad028", "year": 2024, "vol": "16", "issue": "1", "title": "Greek theatre, electric lights, and the plumes of locomotives: the quarrel between the Futurists and the Classicists and the Hellenic modernism of Fascism", "authors": [ { "name": "Eleftheria Ioannidou", "family": "Ioannidou", "orcid": "https://orcid.org/0000-0002-7423-5895", "affil": [ "Arts, Culture and Media, Oude Boteringestraat 34 , 9712 GK Groningen , The Netherlands" ] } ], "abstract": "The controversy between the Futurists and the classicists over the Greek theatre of Syracuse remains largely overlooked within the scholarship concerned with the relationship between Futurism and Fascism. The Futurist movement launched a polemic against the staging of Aeschylus’ Libation Bearers in 1921, counterposing Greek tragedy to new forms of drama drawing on Futurist performance aesthetics and Sicilian popular theatre which, according to the Futurists, could express the spirit of the modern age. In a similar vein, the manifesto that F. T. Marinetti addressed to the Fascist government in 1923 advocated for the staging of modern Sicilian plays in the theatre of Syracuse. Contrary to Futurism, Italian Fascism turned to Greek models in creating new forms of popular theatre. Mussolini’s state supported the production of ancient drama throughout the ventennio, as evidenced by the consolidation of the Istituto Nazionale del Dramma Antico (INDA) in 1925. The theatre of Syracuse should be viewed as a field of antagonism between the different versions of modernism represented by Futurism and Fascism. By examining the convergences and divergences of Futurist and Fascist visions of theatrical renewal, this article highlights not only the Hellenic character of Fascism’s modernism but also the role of Fascism in transforming classical traditions.", "license": "CC by/4.0", "cited_by": 0, "n_refs": 44, "refs_to_crj": 0, "funder": [], "n": 343 }, { "doi": "10.1093/crj/clad029", "year": 2024, "vol": "16", "issue": "1", "title": "Ettore Romagnoli, rievocatore of ancient Greek drama", "authors": [ { "name": "Sara Troiani", "family": "Troiani", "orcid": "https://orcid.org/0000-0001-6664-2696", "affil": [ "Universidade de Coimbra, Centro de Estudos Clássicos e Humanísticos (CECH) , Coimbra , Portugal" ] } ], "abstract": "The Italian classicist Ettore Romagnoli (1871–938) is mostly remembered as a popularizer of ancient drama through his work as a translator for and artistic director of classical performances at the Greek theatre of Syracuse (1914–27). His theatrical productions were inspired by a programmatic aesthetic approach to the study of classical culture called ‘artistic Hellenism’, which aimed at making the Graeco-Roman classics accessible to a broader audience, as well as renewing Italian prose theatre by referring to the example of the ancient chorodidaskalos. This article aims to describe Romagnoli’s attempt to promote his aesthetics in the staging of Greek drama within the cultural framework of Fascism. Even after his dismissal from the artistic direction of the National Institute of Ancient Drama, which he helped to establish in 1925, Romagnoli strove to find the financial support for his project of a ‘Fascist Institute of Classical Drama’. This Institute never became a reality and was probably intended to compete with the classical productions staged at Syracuse, which in the thirties were undergoing a shift in terms of aesthetics and production management according to the new Fascist politics about theatre matters.", "license": "OUP standard", "cited_by": 1, "n_refs": 58, "refs_to_crj": 0, "funder": [], "n": 344 }, { "doi": "10.1093/crj/clae001", "year": 2024, "vol": "16", "issue": "2", "title": "‘Back from the silence with something to say’: Ursula Le Guin’s Lavinia and silence as classical reception", "authors": [ { "name": "Emily Hauser", "family": "Hauser", "orcid": null, "affil": [ "Department of Classics, Ancient History, Religion and Theology, University of Exeter , Exeter EX4 4RJ , UK" ] } ], "abstract": "This article explores the power of silence in the feminist recovery of classical texts to open up engaged spaces for women’s creative reworkings, taking as a case study Lavinia and her reception in Ursula Le Guin’s (2008) novel of the same name. By re-evaluating silence in dialogue with feminist and classical reception scholarship, I argue that Le Guin is able to bring a different angle to the reception of classical literary women, focusing on the gaps and spaces in Lavinia’s character that provide a medium for engagement with the incomplete text of the Aeneid. Silence thus becomes a locus in which Le Guin can transform Vergil’s silencing of Lavinia into a generative vision of the open space of interpretation available in classical literature and its reception.", "license": "CC by/4.0", "cited_by": 6, "n_refs": 112, "refs_to_crj": 4, "funder": [], "n": 345 }, { "doi": "10.1093/crj/clad032", "year": 2024, "vol": "16", "issue": "3", "title": "Translation and the homosexual canon: Thomas Cannon’s 1749 ‘Ancient and Modern Pederasty Investigated and Exemplify’d’", "authors": [ { "name": "Jennifer Ingleheart", "family": "Ingleheart", "orcid": null, "affil": [ "Department of Classics and Ancient History , 38 North Bailey, Durham DH1 3EU , UK" ] } ], "abstract": "This paper analyses the fragmentary apologia for pederasty by Thomas Cannon. Published in pamphlet form in 1749, it was suppressed and prosecuted, and lost to history until its recent recovery. The recovery of the text is only partial, as it was preserved in quoted excerpts in the wording of the indictment against it. Despite its fragmentary state, it is one of the earliest defences of same-sex love, and classical texts and examples naturally form a major part of its argument. Although Cannon’s treatise is important for the history of sexuality and translation studies, it has received limited attention from classicists, despite containing multiple translations from classical authors, together with Cannon’s editorial comments. This paper explores the contribution of the pamphlet to the history of sexuality, through a focus on Cannon’s translations.", "license": "OUP standard", "cited_by": 0, "n_refs": 54, "refs_to_crj": 0, "funder": [], "n": 346 }, { "doi": "10.1093/crj/clad033", "year": 2024, "vol": "16", "issue": "3", "title": "The classical drama as contested heritage in modern Greece: theatre productions from private initiatives to state projects in the 1930s", "authors": [ { "name": "Vasileios Balaskas", "family": "Balaskas", "orcid": "https://orcid.org/0000-0003-2537-0414", "affil": [ "Faculty of Philosophy and Letters, Boulevard Louis Pasteur , 27, 29010, Malaga (Campus Teatinos) , Spain" ] } ], "abstract": "Performing classical drama at ancient venues in interwar Greece reflected the socio-cultural context of the time. The development of archaeological tourism and the perception of classical monuments as heterotopic spaces created particular political and ideological needs. Until the mid-1930s, private theatre companies and individual artists reused classical venues such as the Odeon of Herodes Atticus and the theatre of Epidaurus to stage productions that gradually attracted local, national, and international attention. But by 1936, the National Theatre began exploiting the socio-political potential of ancient theatres and classical drama festivals and state-sponsored productions dominated the Greek theatrical stage. During this period, the claims of exclusivity on the part of the National Theatre and the National Conservatoire defined their competition with private companies and shaped the course of the revival of classical drama in twentieth-century Greece.", "license": "OUP standard", "cited_by": 1, "n_refs": 0, "refs_to_crj": 0, "funder": [], "n": 347 }, { "doi": "10.1093/crj/clae002", "year": 2024, "vol": "16", "issue": "3", "title": "Narrativity and literariness in receptions of Josephus’s teknophagia story", "authors": [ { "name": "Yonatan Binyam", "family": "Binyam", "orcid": "https://orcid.org/0000-0001-5700-9960", "affil": [ "Institute for Advanced Study , 1 Einstein Drive, Princeton, NJ 08540 , USA" ] } ], "abstract": "In this article, I present an analysis of the narrative discourses and literary elements found in the teknophagia story that originates with Josephus’s Bellum Judaicum and trace the development of those motifs in subsequent Latin, Hebrew, Arabic, and Ethiopic versions of the story. I first outline the reception history of Josephus within medieval Coptic and Ethiopic literary traditions, by way of the Hebrew Sefer Yosippon and one of its Latin sources, the De Excidio Hierosolymitano. I then illustrate how the literariness of the various authors who reworked the teknophagia story influences a reading of the narrative discourses of each text. In doing so, I emphasize the unique iteration of the account of the cannibalistic mother that appears in the Christian-Arabic and Ethiopic histories, showing how this version of the story develops out of not only earlier stylistic changes, but also from the literary elements introduced into the story by the redactor of the Arabic reworking of the Hebrew Yosippon.", "license": "OUP standard", "cited_by": 0, "n_refs": 60, "refs_to_crj": 0, "funder": [], "n": 348 }, { "doi": "10.1093/crj/clae003", "year": 2024, "vol": "16", "issue": "3", "title": "Vernacular classicism and the Mausoleum of Halicarnassus: the architectural imaginary of a Danish interwar crematorium", "authors": [ { "name": "Troels Myrup Kristensen", "family": "Kristensen", "orcid": "https://orcid.org/0000-0003-3116-5708", "affil": [ "Department of History and Classical Studies, Aarhus University , Nobelparken, Jens Chr. Skous Vej 3, DK-8000 Aarhus C , Denmark" ] } ], "abstract": "This article discusses a crematorium inaugurated in 1923 in the municipal Northern Cemetery (Nordre Kirkegård) of Aarhus as a case of vernacular classicism in interwar Denmark. While earlier works by its architect Sophus Frederik Kühnel (1851–1930) followed National Romantic, Renaissance, and Gothic models, the crematorium stands out because of its crowning feature, a stepped pyramid roof that emulates one of the most characteristic architectural elements of the mid-fourth-century BCE Mausoleum of Halicarnassus, described by Pliny the Elder (HN 36.31) and other ancient authors. This reference to one of the most famous funerary monuments from classical antiquity is both functionally and symbolically appropriate in a cemetery setting and also fits into a longer history of ‘Mausoleumania’, both in Denmark and internationally. Furthermore, it reflects a broader architectural movement of vernacular, ‘Nordic’ classicism during the interwar period, when local architects ‘translated’ classical elements into the vernacular, for example, through prominent use of brickwork and eclectic combinations of classical motifs with both medieval and National Romantic forms. Kühnel’s crematorium shows some of the creative ways in which Scandinavian architects freely adapted distinctive elements from the repertoire of classical architecture, in this case in response to the rise of cremation.", "license": "OUP standard", "cited_by": 0, "n_refs": 65, "refs_to_crj": 0, "funder": [], "n": 349 }, { "doi": "10.1093/crj/clae004", "year": 2024, "vol": "16", "issue": "3", "title": "Performing Homeric islands: Homeric receptions in (post-)Hellenistic Asia", "authors": [ { "name": "Yanxiao He", "family": "He", "orcid": null, "affil": [ "Institute for Advanced Study in Humanities and Social Sciences, Tsinghua University , Beijing 10084 , China" ] } ], "abstract": "This article presents critical interpretations of the Sophytos inscription in comparison with the K-pop song ‘Sugar Rush Ride’ within the context of the cultural politics of sugar production in modern colonialism. It posits that both pieces individually engage with discreet episodes concerning Homeric islands in the Odyssey: Odysseus’ lying about his Cretan background in book 14 and the lotus-eating story in book 9. Meanwhile, both refer to the Phaeacian episode in book 8. In doing so, this article not only underscores the significance of this Homeric epic as a rich mine from which people across different time periods and geographic areas (such as Kandahar and Korea) draw inspiration, but also contributes to a re-evaluation of the epistemic foundation of research on Hellenistic Central Asia and its legacy.", "license": "OUP standard", "cited_by": 0, "n_refs": 126, "refs_to_crj": 0, "funder": [], "n": 350 }, { "doi": "10.1093/crj/clae005", "year": 2024, "vol": "16", "issue": "3", "title": "‘Something Mythic’: The power of shared stories in Kamila Shamsie’s Home Fire", "authors": [ { "name": "Clara Shaw Hardy", "family": "Hardy", "orcid": null, "affil": [ "Department of Classics, Carleton College , Northfield, MN 55057 , USA" ] } ], "abstract": "Kamila Shamsie’s (2017) novel Home Fire draws on Sophocles’ Antigone for its plot, but neither requires familiarity with, nor explicitly references, the tragedy. This article attempts to build a specific case for the effects of attending to the intertext by focusing on Shamsie’s complex treatment of Antigone’s punishment and its consequences in Sophocles. Reading the novel’s denouement in conversation with that of the tragedy suggests questions about higher authority and checks on political power in the world of the novel. I argue that shared stories in the novel exert a force analogous to that of Sophocles’ gods in that they authorize moral judgments; attention to the intertext enacts the same experience for readers of the novel that shared stories do for characters within the novel.", "license": "OUP standard", "cited_by": 3, "n_refs": 33, "refs_to_crj": 1, "funder": [], "n": 351 }, { "doi": "10.1093/crj/clae006", "year": 2024, "vol": "16", "issue": "4", "title": "W. E. B. Du Bois’s universal history in Black Folk Then and Now (1939)", "authors": [ { "name": "Harriet Fertik", "family": "Fertik", "orcid": null, "affil": [ "Department of Classics, The Ohio State University , 414 University Hall, 230 N. Oval Mall, Columbus, OH 43210 ," ] } ], "abstract": "While debates about ‘Eurocentric’ versus ‘Afrocentric’ theories of history have driven previous studies of Du Bois’s writings on ancient Africa, I read his account of African antiquity in Black Folk Then and Now in the context of the moral and educational projects articulated within both Greco-Roman and African American historiography. I pay special attention to conventional ancient views of history that Diodorus expresses in his Bibliotheke, which treats history as a source of morally instructive examples and ‘universal history’ as especially educational because it synthesizes different historical narratives: these concepts of history were broadly influential into the nineteenth century, including among African American writers. An ancient model of universal history allows Du Bois to tell the story of a distinct human community and nevertheless insist on the unity of peoples, a principle which is central to his philosophy of race and of human history writ large.", "license": "OUP standard", "cited_by": 0, "n_refs": 62, "refs_to_crj": 1, "funder": [], "n": 352 }, { "doi": "10.1093/crj/clae007", "year": 2024, "vol": "16", "issue": "4", "title": "The haunting of classics in the Dark Academia aesthetic", "authors": [ { "name": "Tori F Lee", "family": "Lee", "orcid": "https://orcid.org/0000-0002-4558-0753", "affil": [ "Department of Classical Studies, Boston University , 745 Commonwealth Avenue, Room 414, Boston, MA 02215 ," ] } ], "abstract": "This article explores the online aesthetic ‘Dark Academia’ from the perspective of Classical reception. Dark Academia became popular during the COVID-19 era as an internet subculture revolving around bookishness, university culture, the Gothic, and the Classical. From its beginning as a Tumblr fandom around Donna Tartt’s The Secret History (1992), Dark Academia has grown to reach millions of followers worldwide across numerous social media platforms. This article argues that we can think of Dark Academia’s reception of Classics as a ‘haunting’ as defined by James Uden in Spectres of Antiquity (2020), made up of fragmentary, disconnected references — similar to the reception of Classics in Gothic literature. Dark Academia’s reception, however, is twofold: a reception of Classical antiquity itself, but also of the academic discipline of Classics. As such, the field is twice implicated. Classics must address Dark Academia both as a potential gateway for attracting interest in the ancient world, but also as another phenomenon that reflects and amplifies its own pernicious disciplinary legacy.", "license": "OUP standard", "cited_by": 1, "n_refs": 60, "refs_to_crj": 0, "funder": [], "n": 353 }, { "doi": "10.1093/crj/clae008", "year": 2024, "vol": "16", "issue": "4", "title": "‘Mankind Dame’: John Studley’s early modern Clytemnestra", "authors": [ { "name": "Elena Spinelli", "family": "Spinelli", "orcid": "https://orcid.org/0000-0001-8119-5281", "affil": [ "School of English, University of St Andrews , Castle House, The Scores, KY16 9AL, St Andrews ," ] } ], "abstract": "John Studley’s Agamemnon (1566) explores women’s rule and how it can combine feminine and masculine elements to achieve and maintain political power. To do so, Studley employs the character of Clytemnestra, who simultaneously retains elements of her previous dramatic versions and is shaped to resonate with early modern English audiences. This process is twofold, taking into consideration linguistic and character traits. Clytemnestra’s language is expanded from the Latin through masculine-coded tropes characteristic of vernacular lyric. Moreover, she possesses traits traditionally considered masculine (martial courage, determination, bold speech and skill in weaponry). In Studley’s Clytemnestra, then, endurance and action combined create a gender hybridity in speech and behaviour. In turn, her portrayal resonates with discourses surrounding early modern women rulers, from Elizabeth Tudor to Mary Stuart. Ultimately, Agamemnon reshapes the treacherous queen of Mycenae to function as a commentary on how a woman in power could appear, speak and behave.", "license": "OUP standard", "cited_by": 0, "n_refs": 43, "refs_to_crj": 0, "funder": [], "n": 354 }, { "doi": "10.1093/crj/clae010", "year": 2024, "vol": "16", "issue": "4", "title": "Quod mentem moneat : Monuments and memory in Bernardo Bertolucci’s The Conformist (1970)", "authors": [ { "name": "Genevieve S Gessert", "family": "Gessert", "orcid": "https://orcid.org/0009-0004-7102-2378", "affil": [ "The American University of Rome , Via Pietro Roselli, 4, 00153 Rome," ] } ], "abstract": "Bernardo Bertolucci’s The Conformist (1970), an adaptation of the 1951 novel by Alberto Moravia, has long been recognized for its sophisticated use of both mise-en-scène and editing to explore the historical and psychological effects of Fascism. Bertolucci made significant use of locations in Rome to characterize the Fascist aesthetic, and to visualize the subjective memory of the protagonist Marcello. Concurrent with his evocative use of Fascist imagery is Bertolucci’s complex layering of ancient references, primarily in the form of monuments, to complicate and elaborate the viewer’s understanding of both Marcello’s memory and the historical context, yet this palimpsest of reference has never been comprehensively excavated. This article analyses the classical and classicizing references within The Conformist in their role as memory complexes functioning both narratively and in the cognitive experience of the audience. This exploration seeks both to contextualize Bertolucci’s specific modes of reception within contemporary Italian culture and to deepen the analysis of ancient monuments as cinematic locations more generally.", "license": "OUP standard", "cited_by": 0, "n_refs": 35, "refs_to_crj": 0, "funder": [], "n": 355 }, { "doi": "10.1093/crj/clae011", "year": 2024, "vol": "16", "issue": "4", "title": "Circe, the female hero. First-person narrative and power in Madeline Miller’s Circe", "authors": [ { "name": "Valeria Spacciante", "family": "Spacciante", "orcid": null, "affil": [ "Department of Classics, Columbia University in the City of New York , Hamilton Hall, 1130 Amsterdam Avenue, New York, NY 10027 ," ] } ], "abstract": "This article analyzes Madeline Miller’s Circe in relation to the contemporary trend of women’s mythological retellings of marginalized female characters. Because of Circe’s first-person narrative, Miller’s book has been interpreted and marketed as empowering and feminist; however, Circe’s narrative structure rather reaffirms the ideological assumptions underlying the ‘masculine’ Bildungsroman, where the female character’s individual experience is defined by romance and she is ultimately excluded from the social scene. The dichotomy between the marketing rhetoric of empowerment and the novel’s actual narrative structure stimulates a broader reflection about the ideological implication of this novelistic trend as a whole. On the one hand, these novels exploit the well-established exemplary value of Graeco-Roman antiquity to offer a new version of the classical canon which accommodates the critiques of radical movements like feminism; on the other hand, they appropriate the progressive aura of such movements to secure a broader audience while in fact leaving power imbalances unquestioned.", "license": "OUP standard", "cited_by": 7, "n_refs": 35, "refs_to_crj": 0, "funder": [], "n": 356 }, { "doi": "10.1093/crj/clae012", "year": 2024, "vol": "17", "issue": "1", "title": "Portraying political theatre: parody and caricature, ancient and modern", "authors": [ { "name": "Malcolm Davies", "family": "Davies", "orcid": null, "affil": [ "St John’s College , Oxford OX1 3JP ," ] } ], "abstract": "This article builds on observations made in its author’s book The Hero’s Life-Choice (2023) and examines four nineteenth-century cartoons by John Doyle and his son Richard. It shows how the concetto underlying their title ‘a famous actor between Tragedy and Comedy’ descends from an eighteenth-century painting by Joshua Reynolds of the Shakespearean actor Garrick between the same two female personifications. This painting itself parodied the parable ‘Heracles at the Crossroads’ or ‘The Choice of Heracles between Virtue and Pleasure’, by the fifth-century bc Greek sophist Prodicus. The three earliest cartoons show two politicians on either side of, respectively, a personification of England, a king of England, and a Prime Minister of England. They may thus be interpreted as adumbrating the present-day conviction that politics is merely performative theatre. The appearance of Prime Minister Robert Peel in the latest of John Doyle’s cartoons chimes with the independently attested view by some contemporaries of his career as that of an actor-manager. A final section attempts to explain the unexpected reappearance of the ‘famous actor’ trope in two twentieth-century political cartoons and its definitive disappearance thereafter.", "license": "OUP standard", "cited_by": 1, "n_refs": 25, "refs_to_crj": 0, "funder": [], "n": 357 }, { "doi": "10.1093/crj/clae013", "year": 2024, "vol": "17", "issue": "1", "title": "Classical allusions and narrative guidance in Robert Louis Stevenson’s Kidnapped", "authors": [ { "name": "Justina Gregory", "family": "Gregory", "orcid": "https://orcid.org/0000-0001-8078-747X", "affil": [ "Classical Languages and Literatures, Smith College , Northampton, MA ," ] } ], "abstract": "Kidnapped is the most Scottish novel Robert Louis Stevenson ever wrote. Set in the aftermath of the Battle of Culloden, it integrates historical with fictional events and features detailed Highland topography, along with a gallery of Scottish character types. Yet despite its regional ambiance Kidnapped is imbued with classical references that broaden its focus, illuminating issues of class and education within the story and of genre and narrative structure without. At the close of the novel David Balfour’s grasp of a Latin tag proves crucial to establishing, if not his identity as heir to a Scottish estate, at least his position as an educated gentleman. This status contrasts with his earlier identity as ‘the lad with the silver button’. A cluster of motifs connects the novel to the epic genre, while the observance of narrative principles set forth in Horace’s Ars Poetica adds an authentic eighteenth-century touch.", "license": "OUP standard", "cited_by": 0, "n_refs": 35, "refs_to_crj": 0, "funder": [], "n": 358 }, { "doi": "10.1093/crj/clae014", "year": 2024, "vol": "17", "issue": "1", "title": "Watched men and phallus-wielding women: Aubrey Beardsley’s reception of Juvenal’s Sixth Satire", "authors": [ { "name": "Emily Waller Singeisen", "family": "Singeisen", "orcid": null, "affil": [ "Comparative Literature, University of North Carolina at Chapel Hill , Chapel Hill, NC 27599 ," ] } ], "abstract": "In 1896, Aubrey Beardsley, the controversial poster child for the Decadent movement in Britain, set to work on a collection of drawings inspired by Juvenal’s Sixth Satire. The resultant works — which depict Bathyllus dancing, Messalina returning unsatisfied from the baths, an ‘impatient adulterer’ spying on his mistress, and a final image (not found in the ancient text) of Juvenal whipping a woman — are composed in Beardsley’s iconic style of stark black lines against a white page, simple yet grotesquely erotic. In both the passages that Beardsley selected to represent and his subversive and gender-bending representations, Beardsley exploits the text’s latent homoeroticism, skewers the speaker’s acerbic misogyny, and inverts late antique — and, by extension, Victorian — sexual power structures. While men are depicted as the (knowing or unknowing) subjects of the gaze, women are represented as defiant, returning and refusing the subjection of patriarchal power structures. This paper explores the ways in which Beardsley’s illustrations represent his ‘uncooperative reading’ of the text, wherein Juvenal’s monstrous, dominant women are cast as the heroines of his decadent, grotesque fantasy.", "license": "OUP standard", "cited_by": 0, "n_refs": 38, "refs_to_crj": 0, "funder": [], "n": 359 }, { "doi": "10.1093/crj/clae015", "year": 2024, "vol": "17", "issue": "1", "title": "Admiring the Greeks with Roman eyes: F. A. Wolf, Quintilian, and the Latin roots of German philhellenism", "authors": [ { "name": "Laura Loporcaro", "family": "Loporcaro", "orcid": "https://orcid.org/0000-0002-0493-2206", "affil": [ "Department of History, Ghent University , Sint-Pietersnieuwstraat 35, 9000 Ghent ," ] } ], "abstract": "This paper argues for the underlying importance of Latin learning in a key text of German philhellenism, Friedrich August Wolf’s ‘Darstellung der Alterthums-Wissenschaft’ (1807). It contends that Wolf supported his educational authority by modelling himself on the Roman rhetorical writer Quintilian, and that he drew on him to formulate the notion of a philological encyclopaedia. First, this paper uncovers how Wolf’s self-staging at the start of the ‘Darstellung’ channels Quintilian’s Institutio oratoria. Then, it shows that Wolf argued that Altertumswissenschaft was ‘scientific’ because it was ‘encyclopaedic’, and that he drew on Quintilian not necessarily to conceptualize, but to formulate, this conception. Uncovering the presence of Quintilian in Wolf’s ‘Darstellung’, an influential programmatic text that asserted the superiority of Greece over Rome, this paper argues for the persistence of Latin learning, just as it was dismissed, as a key irony underlying this foundational work of modern classical philology.", "license": "CC by-nc-nd/4.0", "cited_by": 1, "n_refs": 81, "refs_to_crj": 0, "funder": [], "n": 360 }, { "doi": "10.1093/crj/clae016", "year": 2024, "vol": "17", "issue": "1", "title": "Hungry for antiquity: Zbigniew Herbert and reception as ingestion", "authors": [ { "name": "Marianna Leszczyk", "family": "Leszczyk", "orcid": "https://orcid.org/0009-0001-0849-3167", "affil": [ "Faculty of Classics, Balliol College, University of Oxford , Oxford OX1 3BJ ," ] } ], "abstract": "This article examines the travel writing of the Polish poet Zbigniew Herbert (1924–98) through a reception-theoretical lens, identifying a pattern of representing contact with antiquity as food consumption in the travelogues Barbarian in the Garden (1962) and Labyrinth on the Sea (1973/2000). While closely situating this prandial language within the changing cultural discourses of consumption in socialist Poland, I argue for Herbert’s construction of a more widely applicable model of reception as ingestion that speaks to current debates on distance, temporality, and affective relations to the past. By rooting this reception model in Herbert’s lived experiences of post-war precarity, hunger, and the connection between food scarcity and economies of violence, as well as by linking it to his practice of ‘devouring’ knowledge about antiquity through intense research in Western libraries, I also highlight the centrality of embodied experience for seemingly abstract theory-making in reception studies and beyond.", "license": "CC by/4.0", "cited_by": 0, "n_refs": 45, "refs_to_crj": 1, "funder": [], "n": 361 }, { "doi": "10.1093/crj/clae017", "year": 2024, "vol": "17", "issue": "1", "title": "The meaning of Mr. Tumnus: classical epic and the making of modern fantasy", "authors": [ { "name": "Randall Pogorzelski", "family": "Pogorzelski", "orcid": "https://orcid.org/0009-0002-2036-5886", "affil": [ "Department of Classical Studies, University of Western Ontario , Lawson Hall 3205, London, ON N6A 5B8 ," ] } ], "abstract": "The faun Mr. Tumnus in C. S. Lewis’s The Lion, the Witch and the Wardrobe evokes a layering of pasts that both Lewis and J. R. R. Tolkien identify in their scholarly work as a key characteristic of Virgil’s Aeneid and of classical epic more generally. Tolkien discusses the epic layering of pasts as a shared feature of both Beowulf and the Aeneid, and he describes in letters his adoption of the literary technique of those poems in his fiction. Lewis treats the temporality of the Aeneid as a revolution in epic poetry in his Preface to Paradise Lost, and he less explicitly uses it in his Chronicles of Narnia. Fauns in Latin poetry are not simply Roman versions of Greek satyrs, but they represent a version of the same layering of pasts in epic that Lewis and Tolkien identify. By introducing both Lucy Pevensie and readers to Narnia with a faun, Lewis characterizes Narnia not only as a magical realm but also as an epic one.", "license": "CC by-nc/4.0", "cited_by": 0, "n_refs": 46, "refs_to_crj": 0, "funder": [], "n": 362 }, { "doi": "10.1093/crj/clae018", "year": 2024, "vol": "17", "issue": "2", "title": "The Laws of Nature: Rewriting the Myth of Demeter and Persephone in Peter Greenaway’s The Draughtsman’s Contract", "authors": [ { "name": "Tomas Elliott", "family": "Elliott", "orcid": "https://orcid.org/0000-0002-4396-1923", "affil": [ "Department of English, Northeastern University London , Devon House, St Katharine’s Way, London E1W 1JP ," ] } ], "abstract": "This article considers the rewriting of the myth of Demeter and Persephone contained in Peter Greenaway’s 1982 film, The Draughtsman’s Contract. Via a reconsideration of the various versions of the myth present in both the film and its classical sources, the article argues that the film uses the myth to offer a nuanced meditation on the situation of women in both the seventeenth century (when the film is set) and the late twentieth century (when the film was made). Reflecting back across the centuries, the film highlights how interpretations of the myth of Demeter and Persephone have tended to be defined by particular social, legal, and technological formations, rather than by any kind of natural order (for which the myth itself provides a speculative aetiology). In Greenaway’s film, within the limits of their social and material situations, the female characters rewrite the terms of the myth to achieve a qualified autonomy within a deeply patriarchal society.", "license": "OUP standard", "cited_by": 0, "n_refs": 37, "refs_to_crj": 1, "funder": [], "n": 363 }, { "doi": "10.1093/crj/clae019", "year": 2025, "vol": "17", "issue": "2", "title": "Patriotism and Resistance through Translation: Aeschylus’s Persae and the Ancient Greek Past in Wartime China", "authors": [ { "name": "Mengzhen Yue", "family": "Yue", "orcid": null, "affil": [ "School of History, Shandong University of China , No. 27 Shanda South Road, Licheng District, Jinan, Shandong Province ," ] } ], "abstract": "This article analyses the first Chinese translation of Aeschylus’s Persae by Luo Niansheng, initially published in 1936, a pivotal year in China’s modern history. The politically charged 1930s propelled Luo to frame the play primarily as a patriotic text, intended to inspire his Chinese readers during the ongoing war of resistance against Japan. His translations of Greek tragedy and adaptations of Greek history bridged the ancient Greek past with modern Chinese sociopolitical realities, reflecting his belief in the ‘shared’ experiences between ancient Greece and modern China. Through scholars like Hu Shi, Luo participated in a national translation scheme that used Greek history and culture to foster Chinese enlightenment, with institutional support and the rise of public media facilitating the dissemination of his translation. The article also explores Said’s concept of Orientalism, questioning whether Luo’s translation mirrors Orientalist perspectives or offers a distinctly Chinese viewpoint. It argues that Luo’s use of neologisms and his adaptation of key terms within the Chinese cultural framework highlight the complex interplay between his translation strategies and their impact on Chinese readers.", "license": "OUP standard", "cited_by": 1, "n_refs": 45, "refs_to_crj": 3, "funder": [], "n": 364 }, { "doi": "10.1093/crj/clae020", "year": 2025, "vol": "17", "issue": "2", "title": "The feminine of Cicero: Anthony Trollope’s classical critique of Victorian masculinity", "authors": [ { "name": "Jessica Glueck", "family": "Glueck", "orcid": null, "affil": [ "Department of Classics, University of Cambridge , Sidgwick Avenue, Cambridge CB3 9DA ," ] } ], "abstract": "When the Victorian novelist Anthony Trollope, famous for his tales of contemporary British life, published a biography of Cicero in 1880, he surprised and dismayed many critics: the work has often been labelled an unscholarly failure. My study, by contrast, argues for the value of Trollope’s biography as a bold critique of Victorian masculinity which rejects the ubiquitous idealization of toughness and emotional restraint. I begin by establishing the central importance of emotional suppression to Victorian conceptions of masculinity. The article then explores how Victorian histories of ancient Rome created a Caesar–Cicero dichotomy which elevated Caesar’s hard-hearted, militaristic manliness over Cicero’s sensitiveness. The final section demonstrates how Trollope presented Cicero as an alternative to dominant conceptions of manliness, a great statesman who revelled in his passions. Trollope’s celebration of Ciceronian emotion is no amateurish vanity project, but a thoughtful ethical manifesto and a precursor to modern research on the history of the emotions.", "license": "CC by-nc/4.0", "cited_by": 0, "n_refs": 65, "refs_to_crj": 0, "funder": [], "n": 365 }, { "doi": "10.1093/crj/clae021", "year": 2025, "vol": "17", "issue": "2", "title": "Mapping the Eternal City: Rodolfo Lanciani’s Forma Urbis Romae", "authors": [ { "name": "Brian Brennan", "family": "Brennan", "orcid": null, "affil": [ "Centre for Continuing Education, University of Sydney , 160 Missenden Rd , Newtown, New South Wales 2042," ] } ], "abstract": "Rodolfo Lanciani’s multi-layered map of Rome, the Forma Urbis Romae (1893‒1901), is acknowledged as a masterpiece of late nineteenth-century cartography and remains much utilized by classical researchers. Its title references the third-century Forma Urbis, the Severan marble map of the city, and this paper situates Lanciani’s map within a cartographical tradition that was part of the modern reception of the Severan marbles. It investigates how the fragments were emblematically incorporated into Lanciani’s own mapping project and how they were thus ideologically framed by his discourse about the political and social change that was taking place in post-unification Rome. Employing the methodology of social critical cartography, this paper highlights the persuasive aspect of Lanciani’s cartographic narrative in which the eternal city, materialized in the Severan marble map now embedded in Lanciani’s own Forma Urbis Romae, is presented as fulfilling its eternal destiny as the capital of the modern united Italy.", "license": "OUP standard", "cited_by": 0, "n_refs": 73, "refs_to_crj": 0, "funder": [], "n": 366 }, { "doi": "10.1093/crj/claf001", "year": 2025, "vol": "17", "issue": "2", "title": "Uses of the Aeneid in O Uraguay (1769), by Basílio da Gama, as indices of uariatio between the epic and the tragic", "authors": [ { "name": "Leni Ribeiro Leite", "family": "Leite", "orcid": "https://orcid.org/0000-0001-6600-7692", "affil": [ "Modern and Classical Languages, Literatures and Cultures, Unversity of Kentucky , Lexington, KY 40506 ," ] }, { "name": "Dreykon Fernandes Nascimento", "family": "Nascimento", "orcid": null, "affil": [ "Programa de Pós-Graduação em Letras, Universidade Federal do Espírito Santo , Vitória ," ] } ], "abstract": "This article presents an analysis of the poem O Uraguay (1769), by Luso-Brazilian poet Basílio da Gama, focussing on the variations between the epic and the tragic genres in the construction of the main characters of the work. Considering the impact of classical and modern rhetorical and poetic artes, such as Aristotle, Horace, Quintilian, Tasso (1587), Vossius (1647), Luzán (1737; 1789) and Freire (1748; 1759), on the poetic production of eighteenth-century Europe and its colonies, we searched for the possible generic authorities explored by the author in the construction of the epos in O Uraguay. Despite the constitutively epic unity of the poem, its structure is neither homogeneous nor stable, as there are continuous exchanges between epic and tragic, a characteristic brought from the received model, the Aeneid, as a tool used by Vergil, and subsequently also by Gama, for political commentary. We hope this article contributes to the understanding of how the Roman past influenced the colonial literary field in which Gama partakes, in which, going far beyond a passive reproduction of elements, the emulative operation was a dynamic movement of reshaping and updating authorities.", "license": "OUP standard", "cited_by": 0, "n_refs": 57, "refs_to_crj": 1, "funder": [], "n": 367 }, { "doi": "10.1093/crj/claf002", "year": 2025, "vol": "17", "issue": "3", "title": "Ancient and modern voices of Briseis: a feminist critique", "authors": [ { "name": "Rachel H Lesser", "family": "Lesser", "orcid": null, "affil": [ "Department of Ancient Greek & Roman Studies, Gettysburg College , Box 0394, 300 N. Washington St., Gettysburg, PA 17325 ," ] } ], "abstract": "This article examines from a feminist perspective the representation of Briseis in Homer’s Iliad, Ovid’s Heroides 3, Pat Barker’s The Silence of the Girls, and Madeline Miller’s The Song of Achilles. First, it shows how Homer’s Briseis, in her single speech of lament over Patroclus, critiques masculine heroic values yet, nonetheless, conveys her own lack of importance and agency and reinforces an androcentric, patriarchal, and aristocratic narrative. Second, it analyzes how Ovid, even as he gives Briseis a more developed voice and psychology, removes her Homeric dignity and makes her into a one-note character entirely submissive to her enslaver Achilles. Third, it argues that Barker alone makes Briseis into a rounded person narrating her complex relationships with other women as well as with the men in her life. An addendum contrasts Barker’s painful but authentic portrayal of Briseis with her rather fantastical treatment in Miller’s more popular novel.", "license": "OUP standard", "cited_by": 2, "n_refs": 30, "refs_to_crj": 1, "funder": [], "n": 368 }, { "doi": "10.1093/crj/claf004", "year": 2025, "vol": "17", "issue": "3", "title": "William S. Burroughs and the ancient historians", "authors": [ { "name": "Tom Sapsford", "family": "Sapsford", "orcid": null, "affil": [ "Department of Classical Studies, Boston College , 140 Commonwealth Avenue, Chestnut Hill, MA 02467 ," ] } ], "abstract": "Although not typically known for his close engagement with classical texts, William S. Burroughs (1914–97) incorporates writings by ancient historiographers into several of his later publications, Cities of the Red Night (New York: Holt, Rinehart, and Winston, 1981), The Place of Dead Roads (New York: Holt, Rinehart, and Winston, 1983), and Apocalypse (New York: George Mulder Fine Arts, 1988). This article analyses the alterations that Burroughs makes in these works to Herodotus (4.72), Tacitus (Hist. 3.33), and Plutarch (de defectu oraculorum 419b–e). It demonstrates how Burroughs deliberately alters ancient prose writings as part of a larger aim to rearrange his own physical reality — what the author terms ‘a magical theory of history’. On the one hand this alteration of ancient texts emphasizes a particular technique in Burroughs’ later writing practice, where working on a larger scale the cut-up technique becomes looser and more akin to re-writing, thus echoing more conventional prose. On the other hand, Burroughs’ subversion of canonical classical authors adds a further example to recent scholarship that has examined the forgery of classical texts as a form of queer reception practice.", "license": "OUP standard", "cited_by": 0, "n_refs": 64, "refs_to_crj": 2, "funder": [], "n": 369 }, { "doi": "10.1093/crj/claf005", "year": 2025, "vol": "17", "issue": "3", "title": "Where was Apollo in Supergiant’s Hades ? Developer motivations and mythological characters in video games", "authors": [ { "name": "Alexander Vandewalle", "family": "Vandewalle", "orcid": "https://orcid.org/0000-0003-0464-0059", "affil": [ "Department of Literary Studies, Ghent University , Blandijnberg 2, 9000 Ghent ," ] } ], "abstract": "Academic interest in classical reception and video games is thriving, but one dimension that has so far escaped scholarly attention regards the various concerns functioning in the design of such games. This article moves away from the predominantly text-oriented focus of previous investigations (that is, close readings of games as texts) and instead focuses on the production processes and contexts of games set in the ancient world. Specifically, this article is interested in the design of mythological characters in video games: which development choices impact the characterization of these figures, and how do different game design motivations relate to ancient sources? First, I survey the available literature on game production from the field of historical game studies, and establish a framework of different design motivations that impact the works of reception that players experience. Second, I investigate the design of mythological characters in three titles — Apotheon (2015, Alientrap), Hades (2020, Supergiant Games), and Mythwrecked: Ambrosia Island (2024, Polygon Treehouse) — having either interviewed people involved in these games, or consulted available design testimonials. Ultimately, this article establishes a new critical vocabulary with which classical reception in games can be approached.", "license": "OUP standard", "cited_by": 2, "n_refs": 71, "refs_to_crj": 0, "funder": [], "n": 370 }, { "doi": "10.1093/crj/claf006", "year": 2025, "vol": "17", "issue": "3", "title": "Drinking his own Kool-Aid: Frank Miller’s graphic novel 300 (1998) and the slippery slope from history to myth to propaganda", "authors": [ { "name": "Darel Tai Engen", "family": "Engen", "orcid": "https://orcid.org/0009-0009-4913-0088", "affil": [ "Department of History, California State University San Marcos , 333 S. Twin Oaks Valley Road, San Marcos, CA 92096 ," ] } ], "abstract": "Both Frank Miller’s graphic novel 300 (1998a) and the movie it inspired, 300 (2007), were phenomenal popular successes and still stand as a major gateway to ancient history for many people today. Scholars have examined external influences on Miller’s vision and also made a connection between his personal perspective and common themes among his works, but they have not fully appreciated the significance of the graphic novel 300’s place as both a chronological midpoint and a creative turning point in the evolution of Miller’s career from the breakout success of The Dark Knight Returns (1986) to the nadir of Holy Terror (2011). I argue that Miller’s political ideology and creative vision underwent a parallel evolution in which he deceived himself into believing that the heroic-mythical worldview that he expressed through the fictional superhero Batman not only applied to the historical Battle of Thermopylae but also to the contemporary reality of the post-9/11 world. Seen in this light, Miller’s mythologizing of history in 300 is not simply a case of harmless dramatic license but rather a perilous step down a slippery slope toward the political propaganda of Holy Terror.", "license": "CC by-nc-nd/4.0", "cited_by": 1, "n_refs": 83, "refs_to_crj": 0, "funder": [], "n": 371 }, { "doi": "10.1093/crj/claf007", "year": 2025, "vol": "17", "issue": "3", "title": "‘So long as these unhappie times did last’ (I. 6): narration in Samuel Daniel’s The Civil Wars and Lucan’s Pharsalia", "authors": [ { "name": "Felicity Sheehy", "family": "Sheehy", "orcid": null, "affil": [ "22 McCosh Hall, Princeton, NJ 08544, USA" ] } ], "abstract": "This essay reconsiders the relationship between Lucan’s Pharsalia and Samuel Daniel’s The Civil Wars. Unlike previous essays, which have largely focussed upon individual verbal echoes between the two poems, this essay argues that Daniel draws upon Lucan’s particular narrative strategies. Rather than offering a clear account of the Wars of the Roses, Daniel — like Lucan — repeatedly interrupts, questions, and even intervenes in his own narrative. Through this engagement with Lucan, Daniel thus calls attention to the problematics — and the power — of historical narrative. The Civil Wars becomes a poem which teaches its readers about the dangers of the historical poem itself, refusing to offer any neat reconstruction of past events.", "license": "OUP standard", "cited_by": 0, "n_refs": 0, "refs_to_crj": 0, "funder": [], "n": 372 }, { "doi": "10.1093/crj/clae009", "year": 2025, "vol": "17", "issue": "4", "title": "Mediterranean colours, reflections and reactions: Brice Marden’s marble fragments", "authors": [ { "name": "Anthi-Danaé Spathoni", "family": "Spathoni", "orcid": null, "affil": [ "Department of Art Theory and History of Art, Athens School of Fine Arts , Pireos 256 Ag. Ioannis Rentis , Athens," ] } ], "abstract": "In 1981, Brice Marden started an unusual practice. He began painting on marble fragments which he found lying around the garden of his residence in Hydra, Greece, after some works for the construction of a marble bench. He would dedicate himself to this practice during the following summers spent in Greece until 1987 only to re-engage with this practice many years later, in 2011, and continued until his passing. In this paper, I would like to argue that Marden’s marble fragments can embrace multiple and different aspects of the artist’s relationship with the Mediterranean, including two main axes of this influence in his work, antiquity and landscape. My purpose is to examine these complex relationships through different approaches which will show how in Marden’s hands, these stones present key readings of the Mediterranean.", "license": "CC by/4.0", "cited_by": 0, "n_refs": 47, "refs_to_crj": 0, "funder": [], "n": 373 }, { "doi": "10.1093/crj/claf003", "year": 2025, "vol": "17", "issue": "4", "title": "Pasolini’s colonized medea", "authors": [ { "name": "Clayton Miles Lehmann", "family": "Lehmann", "orcid": "https://orcid.org/0009-0000-0678-1598", "affil": [] } ], "abstract": "This article examines Pier Paolo Pasolini’s Medea (Medea [1969], Video Artists International [on VHS], 1980s-90s), as well as his preliminary plan for the film (initially titled ‘Visioni della Medea’) and surviving unused footage. It argues that attention to Medea’s colonized situation advances interpretation of this film in three areas. First, Medea steals the Golden Fleece and kills her brother not because she falls in love with Jason but because she abandons her traditional world for what proves to be a more powerful one—in effect, she colonizes herself. Second, the murders of Glauce and Creon constitute acts of anticolonial terrorism that Medea commits by the colonizers, whose damaged souls make them open to corruption. Third, the ambiguity of the film’s abrupt conclusion reflects Pasolini’s ambivalence about the extent to which the irrational forces of the ‘primitive’ world can ameliorate the evils of modernity.", "license": "OUP standard", "cited_by": 0, "n_refs": 71, "refs_to_crj": 1, "funder": [], "n": 374 }, { "doi": "10.1093/crj/claf008", "year": 2025, "vol": "17", "issue": "4", "title": "Money and Exchange in Plato’s Sophist : reading ἕτερον after Derrida", "authors": [ { "name": "Jack Kelleher", "family": "Kelleher", "orcid": "https://orcid.org/0000-0002-8838-6432", "affil": [ "Department of Classics, King’s College London , Strand, London, WC2R 2LS" ] } ], "abstract": "This article explores the role of money in Plato’s Sophist in light of Jacques Derrida’s essay ‘On the “Priceless” or the “Going Rate” of the Transaction’. I argue that money plays a more significant role in Plato’s thinking than has previously been acknowledged. Though Plato would like to present money-making as a contemptible activity, money also provides the basis upon which he develops his more abstract ideas. I trace the role of money from the beginning of the dialogue through to the account of Non-being that is developed towards the dialogue’s end. I also analyse the role of the term ἕτερον within this account. I argue that this term poses irreducible problems for translation: for, in the Sophist, Plato develops two incompatible notions of ‘otherness’. On my reading, these two notions of ‘otherness’ are more closely related than Plato would have us believe. My reading of ἕτερον provides us with a frame through which to read Plato’s ontological account. It encourages us to attend to the role played by notions taken from the realm of exchange. I show how these notions underlie Plato’s thinking of Non-being. Money thus plays a more determining role in Plato’s thought than he lets on.", "license": "CC by/4.0", "cited_by": 0, "n_refs": 13, "refs_to_crj": 0, "funder": [], "n": 375 }, { "doi": "10.1093/crj/claf009", "year": 2025, "vol": "17", "issue": "4", "title": "Bayek’s promise: authentic vs. accurate Ptolemaic astronomy in Assassin’s Creed: Origins", "authors": [ { "name": "Elizabeth Leaning", "family": "Leaning", "orcid": "https://orcid.org/0009-0003-4366-312X", "affil": [ "School of Humanities, University of Auckland , 14A Symonds St, Auckland Central, Auckland, 1010 ," ] } ], "abstract": "From skyboxes to collectables to assets, stars have been an intrinsic part of video games since Spacewar! (1962). Over 60 years on, as not just graphic realism has improved but also game developers’ commitment to scientific and cultural realism, stars and the night sky have begun to play a more significant part in the execution of multiple modern video games. However, games like Assassin’s Creed: Origins go above and beyond. The 2017 release from Ubisoft integrates Ptolemaic Egyptian astronomy into the narrative. Finding and explaining the cultural relevance of constellations is key to developing the character of Bayek, the protagonist, and in the process, Ubisoft presents the player with the idea of a personal stargazing culture. This paper discusses how an authentic archaeoastronomical perspective was integrated into the development of Assassin’s Creed: Origins, and how Bayek’s personal relationship with astronomy helps to connect the audience with a ‘living’ Egypt, where individual people form personalised connections with the world around them. By immersing the player in Bayek’s promise, the player can challenge the idea of astronomy as a ‘top-down’ science, and begin to explore the historical ways in which everyday people connected with the night sky.", "license": "CC by-nc/4.0", "cited_by": 0, "n_refs": 88, "refs_to_crj": 0, "funder": [], "n": 376 }, { "doi": "10.1093/crj/claf010", "year": 2025, "vol": "17", "issue": "4", "title": "‘Caesar’s Legion’ in Fallout: New Vegas: Re-enactment as Reception", "authors": [ { "name": "Jordan Thomas Christopher", "family": "Christopher", "orcid": "https://orcid.org/0000-0002-1689-4905", "affil": [ "Department of Classics and Archaeology, Loyola Marymount University, University Hall 3716, 1 LMU Drive , Los Angeles, CA 90045," ] } ], "abstract": "This article explores Fallout: New Vegas, widely regarded as the series’ pinnacle, through the lens of classical reception studies. Despite its acclaim, the game has not been seriously examined in studies of the Roman army’s reception, classical influences in video games, or science fiction more broadly. This study focuses on ‘Caesar’s Legion’, a faction that explicitly imitates the imperial Roman army, adapting its structure and practices to the post-apocalyptic ‘Mojave Wasteland’. New Vegas presents an explicit and deliberate ‘re-enactment’ of Rome’s military legacy. The game critically engages with Roman conquest, showcasing terroristic punishments like crucifixion and the psychological toll of slavery. While its depiction of the Roman army’s operations is highly detailed—accurately reproducing classical Latin pronunciation, coin minting, and military hierarchies—its portrayal of Rome as a civilization is deliberately absent. There is no depiction of civil society, religious practices, or family structures. By transposing Rome’s military legacy into an Americanized wasteland, New Vegas critiques selective historical reception. It warns against the dangers of partial or motivated appropriations of the past, advocating for a holistic and sceptical approach to history’s influence on shaping the future.", "license": "CC by/4.0", "cited_by": 0, "n_refs": 80, "refs_to_crj": 0, "funder": [], "n": 377 }, { "doi": "10.1093/crj/claf011", "year": 2025, "vol": "17", "issue": "4", "title": "The return of the gods: Greco-Roman mythology in eighteenth-century rabbinic lore", "authors": [ { "name": "Maoz Kahana", "family": "Kahana", "orcid": "https://orcid.org/0000-0003-2643-6665", "affil": [ "Jewish History Department, Tel Aviv University , Tel Aviv ," ] } ], "abstract": "This study examines the reconfiguration of Greco-Roman mythology within eighteenth-century Central and Eastern European Jewish cultures. Through an analysis of rabbinic and kabbalistic writings, urban processions, and early Hasidic storytelling, it demonstrates how figures such as Apollo, Hercules, and the Amazons were woven into Jewish religious and intellectual life in innovative ways. The study traces the origins of this phenomenon to the sixteenth century, when Iberian and Italian Jewish scholars — under the influence of Renaissance humanism — incorporated classical mythology into Hebrew literature. It then explores the diverse eighteenth-century manifestations of this tradition in Central and Eastern Europe, where classical elements became embedded in Jewish religious thought and cultural expression, addressing various contemporary challenges. These included responses to Enlightenment scepticism, the desire to systematize rabbinic knowledge, messianic aspirations, and kabbalistic interpretations of Jewish and global history. By tracing the embeddedness of mythology within Jewish religious and mystical frameworks, this study reveals a complex and previously overlooked cross-cultural exchange in early modern European Jewish thought. It argues that, rather than fading in the Age of Reason, Greco-Roman mythological elements gained renewed religious significance in the eighteenth century, shaping Jewish esoteric, messianic, and intellectual traditions in unexpected ways.", "license": "CC by-nc-nd/4.0", "cited_by": 0, "n_refs": 82, "refs_to_crj": 0, "funder": [], "n": 378 }, { "doi": "10.1093/crj/claf012", "year": 2026, "vol": "18", "issue": "1", "title": "Fragmented Homers: Logue, Longley, Oswald", "authors": [ { "name": "Thomas A L Munro", "family": "Munro", "orcid": "https://orcid.org/0009-0003-8650-6861", "affil": [ "Department of Classics, Yale University , 344 College Street, New Haven, CT 06511 ," ] } ], "abstract": "This paper compares three modern poets and the way in which their adaptations of the Iliad fragment their source text, providing a survey of the strategies used in Christopher Logue's War Music, Michael Longley's Homeric poetry (particularly in The Ghost Orchid), and Alice Oswald's Memorial. The paper concludes that the general similarity between their approaches can be attributed to attitudes about the fragment which developed among the Modernists, but that a range of reasons exist for divergences between the three poets. Educational background, literary affiliation, and (in particular) the context that each poet wrote in explain the unique ways in which their Homers are fragmented. The paper also considers the way in which fragmentation in each case is accompanied by transmedial or transgeneric transformations of the source text.", "license": "OUP standard", "cited_by": 0, "n_refs": 61, "refs_to_crj": 4, "funder": [], "n": 379 }, { "doi": "10.1093/crj/claf013", "year": 2026, "vol": "18", "issue": "1", "title": "Turnus in India—The Figure of Khwaja Safar in Corte-Real’s Second Siege of Diu", "authors": [ { "name": "Matthew M Gorey", "family": "Gorey", "orcid": "https://orcid.org/0000-0001-5648-6941", "affil": [ "Classics Department, Wabash College , 301 W. Wabash Avenue, Crawfordsville, IN 47933 ," ] } ], "abstract": "This article investigates Virgilian allusions in the Second Siege of Diu (Successo do Segundo Cerco de Diu, 1574), a Portuguese historical epic by Jerónimo Corte-Real about the siege of a Portuguese fortress in northwest India by the Sultanate of Gujarat. The Gujarati army contained soldiers from across the Muslim world, including many European converts to Islam. I argue that when Corte-Real allusively compares these soldiers to characters from the Aeneid, he occasionally does so in ways that emphasize their shared cultural ties through the Greco-Roman classical tradition. This is especially true concerning the Muslim commander Khwaja Safar, an Italian convert to Islam who serves as a Turnus figure within the epic. These allusive connections are further reinforced by a series of illustrations that Corte-Real himself created for a deluxe manuscript version of the poem, in which Safar’s soldiers wear classicizing Roman-style armor (Codex Cadaval 31, Arquivo Nacional Torre do Tombo).", "license": "OUP standard", "cited_by": 0, "n_refs": 71, "refs_to_crj": 0, "funder": [], "n": 380 }, { "doi": "10.1093/crj/claf014", "year": 2026, "vol": "18", "issue": "1", "title": "Organicity, abstraction, and the invention of socialist antiquity", "authors": [ { "name": "Samuel Stewart-Halevy", "family": "Stewart-Halevy", "orcid": null, "affil": [ "Pratt Institute School of Architecture , Higgins Hall, 61 St James Pl, Brooklyn, NY 11238 ," ] } ], "abstract": "This article examines Organicità e astrazione (1956), the most polemical book by Italian Marxist archaeologist Ranuccio Bianchi Bandinelli, as an intervention in postwar debates about socialist aesthetics within the Italian Communist Party. Written in the aftermath of Khrushchev's Secret Speech and amid the growing visibility of American abstract expressionism in Italy, Bianchi Bandinelli attempted to displace both the neoclassical tradition, from Winckelmann to fascist romanità, and the formalist relativism of Alois Riegl and Wilhelm Worringer, by developing a historicist account of organic realism in Greek and Roman art. Arguing that ancient Greek art emerged from a rational, democratic society, Bianchi Bandinelli critiqued abstraction—from Neolithic geometry to Mondrian—as evidence of irrationalism and political decline. The article traces the book's intellectual genealogy across Gramsci, Lukács, and Hauser, and argues that Organicità e astrazione is best understood not as a resolved theoretical statement but as a transitional text—one that attempts to invent the aesthetics of a socialist antiquity while remaining indebted to the idealist frameworks it sought to overcome. Bianchi Bandinelli would retrospectively disavow his book as a maledetto libriccino because of the criticism he received ‘from all sides.’ Nevertheless Organicità e astrazione marks a breakaway from fascism's legacy towards an alternative and emancipatory historiography of the ancient world.", "license": "OUP standard", "cited_by": 0, "n_refs": 42, "refs_to_crj": 0, "funder": [], "n": 381 }, { "doi": "10.1093/crj/clag001", "year": 2026, "vol": "18", "issue": "1", "title": "‘Introduction: costuming the ancient world’", "authors": [ { "name": "Stacie Raucci", "family": "Raucci", "orcid": "https://orcid.org/0009-0007-1749-5424", "affil": [ "Department of Classics, Union College, 807 Union Street, Schenectady, NY 12308 ," ] }, { "name": "Margaret M Toscano", "family": "Toscano", "orcid": null, "affil": [ "Department of World Languages and Cultures, University of Utah, Salt Lake City, Utah 84112 ," ] } ], "abstract": "This introduction establishes the framework for a special issue on costuming the ancient world on screen. It explores the influence of costumes on actors and their art, the agency of the designers creating the costumes as part of a process of worldbuilding, and finally the way costumes drive/inhibit audience engagement with antiquity. The essays in this issue address both historical films and costume dramas set in the ancient world.", "license": "OUP standard", "cited_by": 0, "n_refs": 52, "refs_to_crj": 0, "funder": [], "n": 382 }, { "doi": "10.1093/crj/clag002", "year": 2026, "vol": "18", "issue": "1", "title": "Costuming the other on screen", "authors": [ { "name": "Lisa Maurice", "family": "Maurice", "orcid": "https://orcid.org/0000-0002-0600-8623", "affil": [ "Department of Classical Studies, Bar-Ilan University , Ramat Gan 5290002 ," ] } ], "abstract": "This paper considers the role of costume in the depiction of ‘barbarians’, looking Eastwards to the Persians, as seen in The 300 Spartans (1962), 300 (2006) and Alexander (2004), and then to the West, focusing on the Celts and the Germans depicted in Centurion (2010), The Eagle (2011) and Barbarians (2020–22). It examines the ways in which costuming is exploited to manipulate audience attitudes towards these peoples, who are presented as a foreign ‘other’, but with a marked contrast between them. In the case of the Persians, their colourful clothing, luxurious fabrics, hairstyles and cosmetics mark them out as spoilt, pampered and effeminate, weakened and corrupted by their own riches. The Celts, on the other hand, in Centurion and The Eagle are lacking in civilization, depicted as rough, wild, primitive peoples who lack any kind of elegance or sophistication. Thus, the Persians are over-civilized and the Celts under-civilized, in contrast to the Classical world. In Barbarians, by contrast, the Germans are the heroes and therefore more attractive in appearance than the Romans. In every case the costuming sets up expectations regarding the virtue or vice of the characters, conditioning the spectator to admire or despise the non-Classical ‘other’.", "license": "OUP standard", "cited_by": 0, "n_refs": 26, "refs_to_crj": 1, "funder": [], "n": 383 }, { "doi": "10.1093/crj/clag003", "year": 2026, "vol": "18", "issue": "1", "title": "Historicizing women’s costumes: anachronisms and appropriations", "authors": [ { "name": "Margaret M Toscano", "family": "Toscano", "orcid": null, "affil": [ "Department of World Languages & Cultures, University of Utah , 255 S. Central Campus Dr., Room 1400, Salt Lake City, UT 84112 ," ] } ], "abstract": "This paper examines the interplay between the ancient and modern worlds by looking at the ways contemporary fashion trends of the period of a film’s production influence the ways ancient costume and style are depicted. Scholars writing about the reception of classics in popular culture face the challenge of educating people about the original sources, as well as explaining how the new texts explore social messages, cultural concerns, and artistic sensibilities relating to both the time of production and also to various points of reception. Anachronisms and appropriations are inevitable, not simply because of the unconscious perspectives of filmmakers, but also because the intentions of those involved in production are multiple. I examine four films produced over a period of approximately 66 years to explore how costume designers intertwine the changing styles of women’s dress, hair, and make-up with audiences’ expectations for the illusion of historical reality: Cleopatra (1934) with Claudette Colbert; Quo Vadis (1951) with Deborah Kerr; The Trojan Women (1971) with Katharine Hepburn, Vanessa Redgrave, Genevieve Bujold, and Irene Papas; and Jason and the Argonauts (2000) with Jolene Blalock.", "license": "OUP standard", "cited_by": 0, "n_refs": 27, "refs_to_crj": 0, "funder": [], "n": 384 }, { "doi": "10.1093/crj/clag004", "year": 2026, "vol": "18", "issue": "1", "title": "Is Dionysos still returning? Necropolitics and Terzopoulos’ stagings of dying democracies", "authors": [ { "name": "Philippos Karaferias", "family": "Karaferias", "orcid": "https://orcid.org/0000-0002-3723-8085", "affil": [ "Department of Literature and Arts (Litt&Arts), University of Grenoble Alpes, 621 Av. Centrale, 38400, Saint-Martin-d'Hères ," ] } ], "abstract": "This article examines how Theodoros Terzopoulos’s stagings of Greek tragedy expose and resist necropolitical power. Drawing on Achille Mbembe’s theory of necropolitics and Judith Butler’s notion of grievability, it argues that Terzopoulos reimagines tragedy as an embodied politics of resistance, where the performer’s body becomes both the instrument and the battlefield of sovereign power. Through physical extremity, ritual abstraction, and fractured choral speech, his theatre transforms mourning into insurgency and the stage into a site of ethical confrontation. Focusing on the Trojan Women (2017) and the Oresteia (2024), the article demonstrates how Terzopoulos dismantles classical narratives to reveal the ongoing cycles of war, displacement, and political erasure. The Trojan Women, performed in multiple languages by actors from divided cities, resounds as a polyphonic lament for the stateless and ungrievable, while the Oresteia exposes the disintegration of justice and democracy as ritualized sovereign violence carved into the flesh of the living. Together they remake tragedy as an insurgent epistemology — one that confronts the governance of death and asserts the obstinate endurance of life.", "license": "OUP standard", "cited_by": 0, "n_refs": 38, "refs_to_crj": 0, "funder": [], "n": 385 }, { "doi": "10.1093/crj/clag005", "year": 2026, "vol": "18", "issue": "1", "title": "Carnival and theatre: performing the utopian magic of Ovid’s Metamorphoses", "authors": [ { "name": "Millie Wan Marriott", "family": "Marriott", "orcid": "https://orcid.org/0009-0008-0167-8119", "affil": [ "Department of Classics and Ancient History, School of Humanities, University of Bristol , 11 Woodland Road, Bristol BS8 1TB ,", "Classics, Ancient History, Theology and Religion, University of Exeter , Amory Building, Rennes Drive, Exeter EX4 4RJ ," ] } ], "abstract": "In this article, I analyse the 2021 adaptation of Ovid’s Metamorphoses which opened at the Sam Wanamaker Playhouse at Shakespeare’s Globe in London. I argue that the production conjoined horror and humour in a particularly Ovidian style through a collaborative mode of spectatorship, creating an atmosphere in which actor and spectator came together to imagine a ‘magical space’ in which the traditional hierarchies relating to sex and power were subverted. In Rabelais and his World, Mikhail Bakhtin theorizes about the carnival, a festival of the common people that temporarily subverts social order and can create a momentary utopia. I show that there was a sense of the carnival in the Globe’s Metamorphoses, which touched on many of the themes that relate to Bakhtin’s notion — sex, violence, greed, and power. As the performance transcended from purely theatrical to carnival, the utopian potential of performance was liberated, allowing the re-imagination of social worlds and order. Overall, this article demonstrates how Bakhtin’s theory of the carnival provides a fresh methodology for engaging with Ovidian reception, one that resonates with contemporary discourse relating to Ovid and gender.", "license": "CC by/4.0", "cited_by": 0, "n_refs": 45, "refs_to_crj": 0, "funder": [ "South West & Wales Doctoral Training Partnership, Arts & Humanities Research Council" ], "n": 386 }, { "doi": "10.1093/crj/clag006", "year": 2026, "vol": "18", "issue": "1", "title": "Theorizing aggregative reception: Virgil’s Fama in Lusophone epic", "authors": [ { "name": "Adriana Vazquez", "family": "Vazquez", "orcid": null, "affil": [ "Department of Classics, Institutional Affiliation: UCLA , 405 Hilgard Avenue, Los Angeles, CA 90095 ," ] } ], "abstract": "Adriana Vazquez is an assistant professor of Classics at UCLA specializing in Latin literature of the Augustan period, with particular interest in its legacy in the Lusophone literature of the seventeenth and eighteenth centuries. She is currently working on a monograph on the legacy of Latin literature in the poetry of colonial Brazil, which analyses the literary output of the poets of the Arcadia Ultramarina, a literary academy which emerged in colonial Brazil, for its dialoguing with the ancient poetic tradition. She has published articles on topics ranging from religious language in Augustan poetry to the legacy of Virgil in Portuguese epic and Brazilian poetry. She held the Andrew Heiskell/Dorothy and Lewis B. Cullman Rome Prize in Ancient Studies at the American Academy of Rome in 2021–2022 and a Loeb Prize Fellowship in 2024–2025. She is a cofounder and former steering committee member of Hesperides: Classics in the Luso-Hispanic World, an interest group focusing on Ibero-global reception. The appearance of Fama in The Lusiads is of tremendous importance for cementing her status as a fixture of Lusophone epic and for coining a Portuguese lexicon for her representation, but it is by no means the end of her story. This article seeks to identify a topos of receptive engagement here termed ‘aggregative reception’ through a case study of the appearances of Fama, the divine personification of ‘rumour’, in five Portuguese epics published over the course of the seventeenth, eighteenth, and early nineteenth centuries, each one interesting in its own right for its unique contribution to an expansive vision of Virgil’s monstrous figure: Gabriel Pereira de Castro’s Ulisseia, ou Lisboa Edificada (1636), António Sousa de Macedo’s Ulyssippo, Poema Heróico (1640), Miguel Mauricio Ramalho’s Lisboa Reedificada (1780), Vicente Carlos de Oliveira’s Lisboa Restaurada (1784), and Teodoro de Almeida’s Lisboa Destruída, Poema (1803). By reading the appearances of Fama in Portuguese epic together as not competing, but rather complementary, diffused across texts, aggregative reception offers a framework for reading receptions sympathetically by accommodating, and even encouraging, a diachronic consideration of the afterlife of a topos with its contextualization in a literary longue durée. The consideration of her appearances as cooperative allows for apparent inconsistencies to present opportunities for increasing complexity.", "license": "CC by/4.0", "cited_by": 0, "n_refs": 0, "refs_to_crj": 0, "funder": [], "n": 387 }, { "doi": "10.1093/crj/clag007", "year": 2026, "vol": "18", "issue": "1", "title": "Scott McCloud’s ‘Infinite Canvas’ and the experience of trauma in Lore Olympus and Book Five of Ovid’s Metamorphoses", "authors": [ { "name": "Natalie J Swain", "family": "Swain", "orcid": null, "affil": [ "Department of History & Classics, Acadia University , Wolfville, Nova Scotia, Canada B4P 2R6" ] } ], "abstract": "Natalie J. Swain is an assistant professor of Classics at Acadia University (Canada) where her research focuses on Latin literature, narratology, and the reception of the ancient Mediterranean world in comics and video games. She has a collected volume on the reception of antiquity in Wonder Woman (co-edited with Amanda Potter and Connie Skibinski) and a monograph that applies a comics-based methodology to the reading of Latin elegy both with Bloomsbury. When not working, she can be found wrestling her cats or walking her dog along the beautiful Nova Scotian coastline. In episode 24 of Rachel Smythe’s webcomic Lore Olympus, Persephone is raped by Apollo. The scene is terrifyingly realistic as Persephone retreats into her mind, physically freezing and responding with confusion and dissociation. Persephone’s response here has a clear basis in psychological examinations of real-life trauma. In Ovid’s account of the rape of Proserpina in his Metamorphoses too, these experiences are represented with an eye to real-world trauma. Yet, it is their media—the ‘infinite canvas’ of webcomics and the carmen perpetuum (1.4) of Ovid’s Metamorphoses—which fully engage the reader by blending different people’s experiences of rape trauma (including the reader’s) to recreate the experiences of the characters on the page/screen in the reading experience. This article therefore performs a close reading of episodes 24 (the rape of Persephone), 170, and 171 (the transformation of Daphne) in Lore Olympus alongside Ovid’s account of Proserpina’s kidnapping (including the assaults of Cyane and Arethusa) in Book Five of his Metamorphoses. By reading these texts in tandem, this article argues that readers find similar representations of real-world rape trauma that are shared across people within the story and without, employing their forms to bring the reader, too, into these shared moments of sexual trauma.", "license": "OUP standard", "cited_by": 0, "n_refs": 55, "refs_to_crj": 0, "funder": [], "n": 388 }, { "doi": "10.1093/crj/clag008", "year": 2026, "vol": "18", "issue": "1", "title": "Let loose your longing: erasure, citation, and lesbian matter in Anne Carson’s translation of Sappho’s poetry", "authors": [ { "name": "Maggie McLaughlin", "family": "McLaughlin", "orcid": "https://orcid.org/0009-0004-2069-6209", "affil": [ "Department of Comparative Literature, Indiana University Bloomington , Bloomington, IN 47405 ," ] } ], "abstract": "This paper argues that Anne Carson’s 2003 translation of Sappho’s fragmented poetry, If Not, Winter, is a work that both critiques the Western artistic canon for its systemic oppression and erasure of queerness and expands that canon to include disruptive and nonproductive lesbian identities and texts. Using gender studies scholar Judith Butler’s concept of disidentification and queer theorist José Esteban Muñoz’s expansion of the term, I explore how If Not, Winter both identifies with hegemonic knowledge systems and simultaneously disidentifies with them to create a lesbian remattering of the text. Importantly, it is largely the lesbian claiming of the Sappho-Carson connection that rematters If Now, Winter as a lesbian text. Carson’s fragmented, bracket-riddled translation and discursive citations ripple with a queer affect that holds particularly important weight for lesbians, who are mattered through similar fragmented means as Carson’s translation. Lesbian bodies resonate with the queer—especially lesbian—affect of Carson’s translation, claiming it for themselves as a lesbian text. Carson’s translation rematters Sappho’s fragments as a piece of contemporary lesbian reception largely because it matters to bodies that don’t matter under hegemonic, productive heterosexuality.", "license": "OUP standard", "cited_by": 0, "n_refs": 62, "refs_to_crj": 0, "funder": [], "n": 389 }, { "doi": "10.1093/crj/clag009", "year": 2026, "vol": "18", "issue": "1", "title": "The imaginary works of Meleager of Gadara", "authors": [ { "name": "Gideon Nisbet", "family": "Nisbet", "orcid": null, "affil": [ "Classics, Ancient History, and Archaeology, University of Birmingham , Birmingham, B15 2TT, United Kingdom" ] } ], "abstract": "Did you know that Meleager of Gadara (first century BC), the prolific epigrammatist whose Garland is the root of the Greek Anthology tradition, composed two books of erotic epigrams, the first homosexual (the work of his confused adolescence) and the second heterosexual (the product of his maturity)? Countless English readers have known it from the late eighteenth century to the present day, but it has no evidentiary basis. The poetic career it assigns to Meleager is a collaborative fiction at the root of his Anglophone reception tradition, explaining away the blended bisexuality of the transmitted corpus, and initially abetted by critical editions that chose not to present the text in manuscript order. This article examines the modern myth of Meleager’s books and analyses the mechanisms of its durability (two centuries and counting) in nonspecialist and public-facing scholarship, suggesting that it offers a paradigmatic case study in fake news about antiquity.", "license": "CC by/4.0", "cited_by": 0, "n_refs": 33, "refs_to_crj": 0, "funder": [], "n": 390 }, { "doi": "10.1093/crj/clag010", "year": 2026, "vol": "18", "issue": "1", "title": "‘Rewriting’ Iphigenia’s myth from Euripides to Iakovos Kambanellis", "authors": [ { "name": "Christina Filippaki", "family": "Filippaki", "orcid": null, "affil": [ "University of Chicago , Department of Classics, 1010 E 59th St, Chicago, IL 60637 ," ] } ], "abstract": "This article examines the reconfiguration of tragic myth in Iakovos Kambanellis’ Letter to Orestes and The Supper, particularly focusing on his treatment of Euripides’ Iphigenia among the Taurians (IT) and Iphigenia in Aulis (IA). It demonstrates that by reimagining Euripidean devices and plots, such as letter-writing, re-enactment, Iphigenia’s sacrifice in IA, and the averted fratricide in IT, Kambanellis turns the implicit symbolism of Euripides’ plays into explicit performed realities, exposing sides of the tragedies that past scholarship has overlooked. Central in his attempt to do so is the use of metatheater, which serves as the connecting link between tragedy, Kambanellis’ theatre, and his contemporary reality. Through this interplay, Kambanellis first exposes the irony of IA and reveals the often-overlooked potential of violence of IT and then turns this irony and violent potential of his ancient sources into a subtle commentary on his own contemporary reality. Ultimately, the article aims to show that the intertextual relationship between The Supper and the Iphigenia tragedies is mutually illuminating, revealing the previously overlooked ominous connotations of both ancient and modern plays.", "license": "OUP standard", "cited_by": 0, "n_refs": 80, "refs_to_crj": 0, "funder": [], "n": 391 }, { "doi": "10.1093/crj/clag011", "year": 2026, "vol": "18", "issue": "1", "title": "Designing Cleopatra (1963): the vision and influence of Irene Sharaff", "authors": [ { "name": "Monica S Cyrino", "family": "Cyrino", "orcid": null, "affil": [ "University of New Mexico ," ] } ], "abstract": "This article explores the genius of the American designer Irene Sharaff (1910–1993), who used her artist’s eye to design sets and costumes for Hollywood films and Broadway plays. During her fifty-year-long career, Sharaff earned fifteen Oscar nominations for costume design and won five. With her rich creative imagination, Sharaff frequently inspired contemporary aesthetics in fashion and interior decoration by her innovative choices of fabrics and colours. I examine the visual brilliance of Sharaff’s costume designs in the 1963 film Cleopatra, starring Elizabeth Taylor, Richard Burton, and Rex Harrison. Sharaff designed a staggering 26,000 costumes for the lavish epic with its legions of extras. In the role of Cleopatra, Taylor required a record-setting sixty-five costume changes. Sharaff’s designs for this film inspired new styles in women’s beauty and fashion trends, such as snake-motif jewellery, high-waisted gowns, and dramatic ‘Cleopatra Eye’ make-up. For her work on the men’s costumes, Sharaff did extensive research in the ancient sources to develop the unique looks she used to dress Harrison as Julius Caesar and Burton as Mark Antony. This article considers the impact Sharaff’s ‘ancient’ designs had on modern popular fashion and contemporary tastes in the forward-looking years of the early 1960s.", "license": "OUP standard", "cited_by": 0, "n_refs": 15, "refs_to_crj": 0, "funder": [], "n": 392 }, { "doi": "10.1093/crj/clag012", "year": 2026, "vol": "18", "issue": "1", "title": "Shoestring budgets and shoestring costumes: evoking antiquity in the films of the Bob Mizer’s Athletic Model Guild", "authors": [ { "name": "Alastair J L Blanshard", "family": "Blanshard", "orcid": null, "affil": [ "School of Historical and Philosophical Inquiry, The University of Queensland , St. Lucia, Queensland, 4067 , , a.blanshard@uq.edu.au" ] } ], "abstract": "The significant body of films produced by Bob Mizer which are set in antiquity represent an important archive for understanding the role of the Greco-Roman world in the fantasy life of gay men in mid-century, middle-class America. In numerous ways, these films are deeply indebted to the representation of antiquity produced in Hollywood epic cinema. Examining their costuming allows us to see just how significant this debt is. For a range of logistical reasons, these films developed their own costuming ‘shorthand’ that permitted the evocation of antiquity with minimal effort and investment. This shorthand could only operate because the visual grammar for evoking antiquity had been so firmly established by preceding mainstream, normative, cinematic ventures.", "license": "CC by-nc/4.0", "cited_by": 0, "n_refs": 34, "refs_to_crj": 1, "funder": [], "n": 393 }, { "doi": "10.1093/crj/clag013", "year": 2026, "vol": "18", "issue": "1", "title": "Trans memory without confession: Tiresias and the embodied archive in Sophoclean tragedy", "authors": [ { "name": "Natassa Chalkia", "family": "Chalkia", "orcid": "https://orcid.org/0009-0000-8952-3577", "affil": [ "Department of Early Childhood Education, University of Western Macedonia, 3rd km of the Florina–Niki National Road, 53100 Florina ," ] }, { "name": "Triantafyllos H Kotopoulos", "family": "Kotopoulos", "orcid": "https://orcid.org/0000-0002-0410-9164", "affil": [ "Department of Early Childhood Education, University of Western Macedonia, 3rd km of the Florina–Niki National Road, 53100 Florina ," ] }, { "name": "Tzina Kalogirou", "family": "Kalogirou", "orcid": "https://orcid.org/0000-0003-1116-4986", "affil": [ "Department of Pedagogy and Primary Education, National and Kapodistrian University of Athens, Navarinou 13A, 10680 Athens ," ] }, { "name": "Areti Dimitra Douka", "family": "Douka", "orcid": "https://orcid.org/0009-0008-5044-719X", "affil": [ "Department of Pedagogy and Primary Education, National and Kapodistrian University of Athens, Navarinou 13A, 10680 Athens ,", "Université d'Angers École doctorale Arts, Lettres, Langues (ALL) des Pays de la Loire Université d'Angers, 40 rue de Rennes, BP 73532, 49035 Angers CEDEX 1 ," ] } ], "abstract": "This article reconceives the figure of Tiresias in Sophocles’ Oedipus Tyrannus and Antigone as an ancient archive of trans memory — not a retrospective identity category, but an analytic of embodied metamorphosis structured by silence, gesture, and somatic repetition. Through close philological readings combined with performance-oriented analysis of metre, staging, and choral response, and informed by transgender studies and theories of cultural and archival memory, it argues that Sophoclean dramaturgy preserves Tiresias’s metamorphic past not through explicit narration but through ritual temporality, sensory inversion, and strategic opacity. Tiresias thus emerges as a figure of mnēmē without confession, whose bodily transformations persist in theatrical rhythm, miasmatic imagery, and choral mediation rather than in autobiographical disclosure. Tracing the Tiresian archive from antiquity to modern reception — from Ovid’s Metamorphōses to Cassils’s durational performance Tiresias and the community practices of the Archivo de la Memoria Trans in Argentina — the article shows how ancient dramaturgies of crossing are reactivated within contemporary debates on visibility, vulnerability, and archival ethics. By integrating philology, performance analysis, and trans theory, the article reframes classical reception as a practice of embodied remembrance, demonstrating how gender-variant histories endure through opacity, repetition, and form.", "license": "OUP standard", "cited_by": 0, "n_refs": 40, "refs_to_crj": 0, "funder": [], "n": 394 }, { "doi": "10.1093/crj/clag014", "year": 2026, "vol": "18", "issue": "1", "title": "‘The only original work remaining’: William Blake and the Belvedere Torso", "authors": [ { "name": "Rebecca Marks", "family": "Marks", "orcid": "https://orcid.org/0000-0003-2313-2092", "affil": [ "Independent Researcher , London ," ] } ], "abstract": "This article explores William Blake’s engagement with the Belvedere Torso, a Hellenistic fragment he sketched during his student years at the Royal Academy (1779–80). In 1809, Blake declared the Torso to be ‘the only original work remaining’, claiming that all other Classical sculptures were merely ‘copies’ of more ancient originals. This essay examines why Blake isolates the Torso from other canonical statues and situates this claim alongside his reading of Winckelmann and Hogarth, and within a broader Romantic fascination with the fragment. Analysing the narrative significance of the Torso across four of Blake’s visual works — The Stoning of Achan (1800), The Death Chamber drawings (1800–07), and Jerusalem, plate 25 (1820) — this paper argues that Blake adopted the fragment as an imaginative archetype of heroic suffering. Rather than viewing the fragment as a symbol of decay, Blake instead used it as a site of visionary potential: both in his writings and his visual work. In doing so, Blake transforms Classical reception into a mode of imaginative renewal, and rather than proving his isolated genius, the essay demonstrates his deep embeddedness within the visual and intellectual culture of his time.", "license": "CC by/4.0", "cited_by": 0, "n_refs": 64, "refs_to_crj": 0, "funder": [], "n": 395 }, { "doi": "10.1093/crj/clag015", "year": 2026, "vol": "18", "issue": "1", "title": "From fur bikinis and brass bras to skinny jeans: dressing (and undressing) the Amazons", "authors": [ { "name": "Amanda Potter", "family": "Potter", "orcid": null, "affil": [ "Department of Classical Studies, Open University , Walton Hall, Milton Keynes, MK7 6AA ," ] } ], "abstract": "As women warriors the Amazons can be portrayed as strong role models for female empowerment or as scantily clad beauties to attract the male gaze. On film and television they are often a combination of both. Starting with on-screen costumes for Wonder Woman from the 1960s onwards, this article traces costuming of Wonder Woman and the Amazons through to the 2020 film Wonder Woman 1984. There is also another strand of portrayals of Amazons on screen, from made-for-television film Hercules and the Amazon Women (1994) and Xena: Warrior Princess (1995–2001) through to Hercules (2014), Troy: Fall of a City (2018) and The Old Guard (2020). Drawing on viewer research, reviews, and interviews with designers, I argue that costume is a contentious issue in characterizing the Amazons, and sometimes there can be dissonance between the feminist message within the script and the way the Amazons are dressed. Designers can prioritize any combination of historical research, aesthetics, and wearability in creating Amazon costumes, and contemporary female designers have been successful in achieving a good balance for the actors and for the viewers.", "license": "OUP standard", "cited_by": 0, "n_refs": 46, "refs_to_crj": 0, "funder": [], "n": 396 }, { "doi": "10.1093/crj/clag016", "year": 2026, "vol": "18", "issue": "1", "title": "Once upon a Homer: classical epic as folklore-fairytale in nineteenth-century literature", "authors": [ { "name": "Lucinda Menaul", "family": "Menaul", "orcid": null, "affil": [ "Classics Department, King′s College London, The Strand Campus , London, WC 2R 2LS" ] } ], "abstract": "This article explores the recasting of Homeric narratives as folklore-fairytale in the latter half of the nineteenth century in Britain, taking William Morris’s 1887 translation of the Odyssey as a case-study of a ‘folkloric’ version in contrast with Alexander Pope’s 1725/1726 ‘neoclassical’ version. Following the excavations of Heinrich Schliemann at Hissarlik and Mycenae in the 1870s, there was a renewed fascination with classical narrative at the same time as the intellectual study of European folklore and fairytales was reaching its heyday. I explore how Morris employed a folkloric mode encompassing both the fantastical tropes of and gritty historical realism behind folklore and fairytales, to convey a kind of proto-‘magical realist’ interpretation of the Odyssey through which to probe social ideals and which contributed to the development of his socialist vision.", "license": "CC by/4.0", "cited_by": 0, "n_refs": 73, "refs_to_crj": 0, "funder": [], "n": 397 }, { "doi": "10.1093/crj/clag017", "year": 2026, "vol": "18", "issue": "1", "title": "Mythological tale and intertextuality in Vaghe stelle dell’Orsa (Luchino Visconti, 1965) according to Gérard Genette’s theory of cultural palimpsest", "authors": [ { "name": "José Luis Aja Sánchez", "family": "Aja Sánchez", "orcid": null, "affil": [ "Faculty of Humanities and Social Sciences, Comillas Pontifical University , Calle Universidad Pontificia Comillas 3-5, Madrid 28049 ," ] } ], "abstract": "Vaghe stelle dell'Orsa (Sandra, 1965) narrates an intimate drama by Luchino Visconti, which draws on a series of figures from Classical Antiquity for the construction of the script and the characters. The aim of this article is to study the rewriting and adaptation of the mythological story in order to understand the value of myth in Visconti’s films and its ultimate contribution to the meaning of this work. For the development of the analysis, the theory of the ‘cultural palimpsest’ (by Gérard Genette) has been chosen due to its taxonomic richness; this allows us to reflect on the different strategies used by Visconti when producing the script and creating the characters. This study will further examine the mythological dimensions embedded within Sandra, with particular attention to the psychic and emotional registers. It will also explore narrative structures commonly associated with classical literature, such as katabasis and anagnorisis, as they are reflected and recontextualized within the film. A relationship will also be established between Sandra and other works by Visconti, in which certain recurrences and aspects can be found that allow analogies and divergences to be established with the nature of the myth and its stories. Finally, taking this study of Sandra as a reference point, the survival of myths in the twentieth century and their processes of transformation will be assessed, paying special attention to the transmission of their existential dimension and their transcendent value.", "license": "OUP standard", "cited_by": 0, "n_refs": 34, "refs_to_crj": 0, "funder": [], "n": 398 }, { "doi": "10.1093/crj/clag018", "year": 2026, "vol": "18", "issue": "1", "title": "Tacitus in China: from the seventeenth century to the present", "authors": [ { "name": "Zhongxiao Wang", "family": "Wang", "orcid": "https://orcid.org/0000-0002-7494-7913", "affil": [ "Department of History, Fudan University , Handan Road 220, Shanghai 200433 ," ] } ], "abstract": "This study traces the reception of Tacitus in China from the seventeenth century to the present, following the historian’s movements from the Jesuit libraries of late-Ming Beijing to the lexicon of modern Chinese political discourse. Beginning with the arrival of Tacitus’ works among the books brought by Nicolas Trigault’s 1618–19 mission, it examines a sequence of sporadic yet revealing encounters through which Chinese scholars, translators, and intellectuals engaged with his writings. Tacitus’ afterlife in China, from the late Qing and Republican eras to the early People’s Republic and the present, both mirrored transformations in China’s intellectual and ideological landscapes and reflected broad shifts in the study of Western historiography and classical learning. This article concludes with an analysis of the so-called ‘Tacitus Trap’, a striking case of twenty-first-century appropriation of the classical legacy, and asks how an ancient author, once displaced and refracted through new cultural contexts, could acquire renewed political and moral resonance.", "license": "OUP standard", "cited_by": 0, "n_refs": 73, "refs_to_crj": 0, "funder": [ "Ministry of Education of the People's Republic of China" ], "n": 399 }, { "doi": "10.1093/crj/clag019", "year": 2026, "vol": "18", "issue": "1", "title": "‘Dressed to kill: costume designers discuss Pontius Pilate’s recent on-screen attire’", "authors": [ { "name": "Christopher M McDonough", "family": "McDonough", "orcid": null, "affil": [ "Department of Classics, The University of the South , Sewanee, TN 37383 ," ] } ], "abstract": "This paper considers the purpose of wardrobe in films about antiquity with particular regard to recent depictions of Pontius Pilate. In 1963, designer Vittorio ‘Nino’ Novarese had almost quit production on The Greatest Story Ever Told over issues of historical accuracy. Half a century later, designers feel very differently, as revealed in interviews with Simonetta Mariano (who worked on HBO’s 2010 series of Ben-Hur), Varvara Avdyushko (designer for 2016’s feature-length Ben-Hur), and Luciano Capozzi (NBC’s A.D. The Bible Continues, also 2016), all of whom feel costuming must be seen as participating in a film’s overall thematic purpose.", "license": "OUP standard", "cited_by": 0, "n_refs": 8, "refs_to_crj": 0, "funder": [], "n": 400 }, { "doi": "10.1093/crj/clag020", "year": 2026, "vol": "18", "issue": "1", "title": "Prometheus’ suicidal daughter: Lesya Ukrainka’s rewritings of Euripides in ‘Iphigenia in Tauris’ (1898)", "authors": [ { "name": "Shudi Yang", "family": "Yang", "orcid": null, "affil": [ "Department of Slavic Languages and Literatures, University of California , Berkeley, 6303 Dwinelle Hall, Berkeley, CA 94720-2979 ," ] } ], "abstract": "This paper looks into the innovative reception of Euripides’ Iphigenia in Tauris in the homonymous poem of Lesya Ukrainka. It starts with an introduction of the poetess, her relationship to the classical tradition, and the historical landscape of Crimea in the nineteenth century. The main body of the article offers a comparative reading of Ukrainka and Euripides, concluding that while Ukrainka was mindfully following the style classique, her feminist and nationalist perspectives, together with her real-life experiences in the peninsula, contribute to her own literary innovations, especially her characterization of Iphigenia as the suicidal daughter of Prometheus, the Titan said to be bound on the Caucasian mountains, another historic landscape annexed into Tsarist Russia by the mid-nineteenth century. It is argued that through her unique understanding of Prometheism, Lesya Ukrainka positions herself at the crossroads of Classical, European, Slavic, and Ukrainian literary traditions, providing another captivating case for us to reconsider Classics in postcolonial worlds.", "license": "CC by-nc/4.0", "cited_by": 0, "n_refs": 54, "refs_to_crj": 1, "funder": [], "n": 401 }, { "doi": "10.1093/crj/clag021", "year": 2026, "vol": "18", "issue": "1", "title": "Antigone at the colony: biopolitical transgressions in Luis Rafael Sánchez’s La pasión según Antígona Pérez", "authors": [ { "name": "Andrea Capllonch-Pérez", "family": "Capllonch-Pérez", "orcid": "https://orcid.org/0009-0006-3808-4192", "affil": [ "Department of Comparative Literature, Emory University ," ] } ], "abstract": "While a significant amount of scholarship has been dedicated to the study of Sophocles’ Antigone through a biopolitical lens, few analyses have applied this framework to its contemporary adaptations, considering the historical and sociopolitical circumstances that surround localized receptions in Latin America. This article will examine Luis Rafael Sánchez’ 1968 La pasión según Antígona Pérez (The Passion According to Antígona Pérez) as an example of how theoretical frameworks that have been traditionally applied to the study of classical Greek works have the potential to provide novel insights when analysing key differences between modern adaptations and their source material, such as Sánchez’ reconceptualization of Antigone’s transgression as a theft rather than as the burial of Polynices’ remains. Through a close reading of the language of appropriation and ownership in the text, this article examines the play as an allegorical framework by means of which Sánchez engages with Puerto Rico’s colonial history. Additionally, it reviews Giorgio Agamben’s definition of the homo sacer alongside Achille Mbembe’s ‘necropolitics’ to study how the archetype of the homo sacer and colonized subjects alike are figures whose ambiguous political existence is similarly delineated by a sovereign power. In juxtaposing both perspectives and specifically linking them to Puerto Rico’s modern political history, it seeks to complement the existing corpus of biopolitical studies of Antigone as a liminal figure that lies at the margins of life and death, nature and human jurisdiction.", "license": "OUP standard", "cited_by": 0, "n_refs": 41, "refs_to_crj": 0, "funder": [], "n": 402 }, { "doi": "10.1093/crj/clag022", "year": 2026, "vol": "18", "issue": "1", "title": "The cost of Indian trade: reading Pliny the Elder on empire, commerce, and luxury in seventeenth- and eighteenth-century France (Pier-Daniel Huet and Baron de Montesquieu)", "authors": [ { "name": "Giulio Leghissa", "family": "Leghissa", "orcid": "https://orcid.org/0009-0009-1762-1122", "affil": [ "Centre for Renaissance and Reformation Studies , Toronto, Ontario ," ] } ], "abstract": "This article examines how Pier-Daniel Huet’s and Montesquieu’s readings of Pliny the Elder’s account of Indo-Roman trade reflected contemporary debates on empire, commerce, and luxury. Pliny’s complaint that Indian trade drained enormous sums from Rome was largely overlooked before the eighteenth century; when Montesquieu highlighted it, he did so to comment on France’s (and other European states’) financial and imperial ambitions in the Indian Ocean. The article compares and examines these two authors’ interpretations of Pliny. Pier-Daniel Huet’s Histoire du commerce et de la navigation des anciens (1716) reads Indo-Roman trade positively, as a source of Roman prosperity and imperial grandeur, consonant with Colbertist ambitions for French commercial empire. Montesquieu’s Considérations sur les causes de la grandeur des Romains et de leur décadence (1734) and De l’esprit des lois (1748) instead recast the same evidence to argue that empire and commerce were fundamentally incompatible, and that Rome’s turn to luxury eroded the military discipline sustaining its empire. Read together, these accounts reveal a decisive, under-acknowledged shift in the historiography of Indo-Roman trade, one that shaped how the relationship between prosperity, luxury, and empire was understood in France during the Enlightenment period.", "license": "CC by/4.0", "cited_by": 0, "n_refs": 48, "refs_to_crj": 0, "funder": [], "n": 403 }, { "doi": "10.1093/crj/clag023", "year": 2026, "vol": "18", "issue": "1", "title": "‘Thalatta! Thalatta!’ in Ireland: Xenophon, the schoolroom, and the reception of a detached cry", "authors": [ { "name": "Rodrigo Illarraga", "family": "Illarraga", "orcid": null, "affil": [ "Dirección General de Humanidades, Universidad San Sebastián , Lota 2645, Providencia, Region Metropolitana 7510602 ,", "Instituto de Filosofía “Dr. Alejandro Korn”, Universidad de Buenos Aires—CONICET , Puan 480, CABA C1420 ," ] } ], "abstract": "The Irish reception of Xenophon has never formed a continuous literary tradition comparable to that of Virgil or Ovid. It surfaces instead as a series of partial reactivations: a learned circulation of editions in Greek, Latin, and English; an explicit moral appropriation in eighteenth-century Irish and Anglo-Irish prose; an institutional life in the classical curriculum of Trinity College Dublin and the Irish secondary school; and, in modernity, a recurrent rewriting of the most quotable moment in the whole corpus, the cry of the Ten Thousand at the sight of the sea (Anabasis 4.7.24). This article argues that what binds these scattered episodes is not influence in the strong sense but a pedagogical and moral repertoire and that the unit of Irish reception is frequently not the work but the detached tag, a fragment that circulates without its text. Reading Ó Gadhra, Amory, the curriculum, and then Joyce, Gogarty, MacNeice, and Murdoch, I argue that the very routinization of schoolroom Xenophon is the condition of his modern literary afterlife and that the gap between competence in Greek, the material presence of texts, and effective reception is itself the finding. The argument is framed by two recent bodies of work: on ancient quotation culture, against which the cry emerges as a passage that antiquity did not find quotable and that an institution made so, and on the blue humanities, which bear on the fact that what Ireland received from Xenophon was a word for the sea.", "license": "OUP standard", "cited_by": 0, "n_refs": 51, "refs_to_crj": 0, "funder": [], "n": 404 }, { "doi": "10.1093/crj/clag024", "year": 2026, "vol": "18", "issue": "1", "title": "Taylor Swift’s ‘Cassandra’: popular song as feminist intervention", "authors": [ { "name": "Maxine Lewis", "family": "Lewis", "orcid": "https://orcid.org/0000-0003-1892-2807", "affil": [ "Senior Lecturer Classics and Ancient History, Major and Specialisation Leader Gender Studies, Waipapa Taumata Rau the University of Auckland" ] } ], "abstract": "The 2024 song ‘Cassandra’ is Taylor Swift’s first significant engagement with the Classical world. It continues a pre-established songwriting mode in which Swift has used references to fairytale, historical, and literary women to deconstruct society’s sexist portrayals of ‘mad women’ and ‘witches’. Co-written with Aaron Dessner, ‘Cassandra’ reflects Swift’s experiences of, and previous portrayals of, sexual objectification and public shaming. I examine Cassandra in ancient Greek texts to show how her sexed and gendered life experiences serve as a foil for Swift to critique sexism. Through a close reading of the song’s structure, themes, and musical elements, I show how Swift constructs parallels and connections between Cassandra and herself, using the Trojan prophetess—abstracted from her original narrative and cultural context—to legitimize the contemporary songwriter’s claim to be a female truth-teller. Lastly, I examine how Swift and Dessner intervene in Cassandra’s story and migrate it to a new context. Throughout, I show that Swift and Dessner’s artistic choices serve the song’s critique of sexism and cast women’s silencing as a transhistorical phenomenon that exists across time, space, and place.", "license": "CC by-nc-nd/4.0", "cited_by": 0, "n_refs": 134, "refs_to_crj": 8, "funder": [], "n": 405 } ] }