Classical Reception
- Brill's New Pauly Supplements Online I This link opens in a new window Brill's New Pauly Supplements "brings together 6 major reference works for study of the ancient world and its reception in later centuries, including the acclaimed Historical Atlas of the Ancient World. Ranging from comprehensive lists of rulers and dynasties that made their mark on history to the biographies of scholars throughout the ages who shaped our knowledge of the classics."
Oxford History of Classical Reception in English Literature: Volume 1: 800–1558 by
Volumes 2, 3, and 4 in print only. Surveys the reception and transformation of classical literary culture in England up to the Henrician era. Chapters on the classics in the medieval curriculum, the trivium and quadrivium, medieval libraries, and medieval mythography.
Location: Mugar Memorial Library Stacks PR127 .O94 2012
Deep Classics: rethinking classical reception by
Individual chapters draw fruitful connections between the reception of the classical and current concerns in philosophy of mind, cognitive theory, epistemology, media studies, sense studies, aesthetics, queer theory and eco-criticism.
Publication Date: 2016
The Handbook to the Reception of Ovid and other Wiley Blackwell Handbooks of the Clasical Reception by
This book offers innovative perspectives on Ovid's poetry and its reception from antiquity to the present day and introduces familiar and unfamiliar figures in the history of Ovidian reception.
Greece and Rome at the Crystal Palace by
The marble halls of the British Museum might seem the natural habitat for classical sculpture, but in the nineteenth century its sombre displays were far from being the only place that people encountered antiquities. From 1854, a rival collection of classical sculpture, comprising plaster casts from major European museums and scaled down architectural features, was on show in the South London suburb of Sydenham, in the Crystal Palace which had housed the Great Exhibition of 1851. By the late 1850s, two million visitors were passing through the glass doors of the Sydenham Crystal Palace each year, more than twice as many as recorded at the British Museum. Many more people, and from a greater variety of social strata, saw the painted cast of the Parthenon frieze in Sydenham than the original in Bloomsbury. Utilizing an extensive variety of archival material, including diaries, scrapbooks and photographs, Greece and Rome at the Crystal Palace evokes visitor experiences at Sydenham, and examines the discussion that arose around the presentation of classical plaster casts to a mass audience. It uncovers the social, political, and aesthetic role of ancient Greek and Roman sculpture in modern Britain, assessing how classical art figured in debates over design reform, taste, beauty and morality, class and gender, and race and imperialism.
Publication Date: 2015
Classical Tradition
- Early English Books Online (EEBO) This link opens in a new window Contains page images of virtually every work printed in England, Ireland, Scotland, Wales and British North America and works in English printed elsewhere from 1473–1700
- Census of Antique Works of Art and Architecture Known in the Renaissance The Census database connects antique monuments known during the Renaissance (1400–1600) with the Renaissance media which represent these monuments. The project is primarily focused on recording which ancient monuments were demonstrably known, and in what state of preservation, in the fifteenth and sixteenth centuries. A total of over 200,000 entries record monuments, visual and written sources, places, persons, dates, artistic styles, events, bibliography and illustrations. The number of ancient monuments is currently over 10,000 and the Renaissance document entries number over 38,000.
The Classical Tradition by
The legacy of ancient Greece and Rome is all around us, imitated, resisted, reworked, and misunderstood. In this beautifully illustrated and encyclopedic compendium, a team of leading scholars investigates the afterlife of this rich heritage in the fields of literature, philosophy, art, architecture, history, politics, religion, and science.
Location: Mugar Reference X DE60 .C55 2010Publication Date: 2010
The Oxford Guide to Classical Mythology in the Arts, 1300-1990s by
The Oxford Guide to Classical Mythology in the Arts is a unique reference work: a topically classified chronology of more than 30,000 artworks from circa 1300 to the present day that take as their theme the subjects of Greek and Roman mythology. Inmore than three hundred major entries, alphabetically arranged by subject, artworks are listed in chronological order, delineating the history of artistic interest in the subject, including painting, sculpture, music, dance, opera, drama, and literature over the last seven centuries.
Location: Mugar Reference X NX650.M9 R45 1993Publication Date: 1993
Classical Myths and Legends in the Middle Ages and Renaissance: A dictionary of allegorical meanings by
While numerous classical dictionaries identify the figures and tales of Greek and Roman mythology, this reference book explains the allegorical significance attached to the myths by Medieval and Renaissance authors. Thus the reader who encounters an allusion to Hercules in a sixteenth-century drama can quickly discover that Hercules was often interpreted as a personification of virtue during the Renaissance, and that the labors of Hercules could represent the triumph of morality over vice. Included are several hundred alphabetically arranged entries for the gods, goddesses, heroes, heroines, and places of classical myth and legend. Each entry includes a brief account of the classical myth, with reference to the Greek and Latin sources.
Location: Mugar Reference X PN669 B78 1998Publication Date: 1998
Classical Myths in Italian Renaissance Painting by
This book retraces the development of classical imagery in the visual arts of the Italian Renaissance. Luba Freedman examines poems, letters and treatises on art, which testify to the contemporary desire to depict classical myths in the style and spirit of Ovid's Metamorphoses, and to re-create the artistic patronage of the ancient Romans. This new development in art was driven by collaboration between humanists, artists, and their patrons. The extant artifacts of Roman antiquity, in addition to the study of Greek and Latin texts which brought to light descriptions of ancient paintings, were used as models for re-creating the visual culture of antiquity. Paintings of classical myths that were shaped all'antica, or in the manner of the ancients, allowed humanists to link the modern Rome with its ancient ancestry.
Location: Mugar Stacks ND1422.I8 F74 2011Publication Date: 2011
Greek Fragments in Postmodern Frames by
Greek Fragments in Postmodern Frames takes as its subject adaptation of Greek tragedy in the last decades, arguing that rewritings of Greek tragic texts in this period can be used as a tool to uncover a significant dialogue with postmodernism. Despite the large number of staged and writtenadaptations of Greek tragic texts in recent years, the idea still persists that tragedy is incompatible with postmodernism, with the long-standing debate over the demise of the genre in the modern era undergoing a recent resurgence with the claim that postmodernism precludes tragedy both as anaesthetic form and as a way of perceiving the world. This volume focuses on the adaptation of Greek tragedy between 1970 and 2005 and explores a wide range of adaptations from a variety of different countries: the plays under discussion are characterized by an extended intertextual engagement with their prototype texts - instead of simply adapting theGreek myth, they rewrite the classical text in ways akin to the renegotiation of authorship and textuality proffered by poststructuralist thought. Such adaptive strategies are not only integral to the wider problematics of interrogating the authority of the classical canon and the power structuresembedded in its reception, but also have also given rise to the development of peculiar tragic modes and tropes towards the end of the twentieth and into the twenty-first century. In analysing these tropes and demonstrating the ways in which Greek tragic texts have been rethought and rewritten inthe adaptions presented, this volume seeks on the one hand to show how tragedy continues to provide a means of articulating contemporary cultural and political preoccupations, while on the other it draws upon a cultural materialist methodology to resist fixed definitions of tragedy and to question established frames and representations.
Location: OnlinePublication Date: 2017
