Classics and the Uses of Reception

Charles Martindale is Professor of Latin at the University of Bristol He has written extensively on the reception of classical poetry. In addition to the theoretical Redeeming the Text: Latin Poetry and the Hermeneutics of Reception (1993), he has edited or coedited collections on the receptions of Virgil, Horace, and Ovid, as well as Shakespeare and the Classics (2004). His most recent book is Latin Poetry and the Judgement of Taste: An Essay in Aesthetics (2005). Richard F. Thomas is Professor of Greek and Latin at Harvard University. His interests are generally focused on Hellenistic Greek and Roman literature, on intertextuality, and on the reception of classical literature in all periods. Recent books include Reading Virgil and His Texts: Studies in Intertextuality (1999) and Virgil and the Augustan Reception (2001). He is currently working on a commentary to Horace, Odes 4 and a coedited volume on the performance artistry of Bob Dylan.

• List of Figures Notes on Contributors Introduction: Thinking Through Reception 1Charles Martindale1 Provocation: The Point of Reception Theory 14William W. BatstonePart I Reception in Theory 212 Literary History as a Provocation to Reception Studies 23Ralph Hexter3 Discipline and Receive; or, Making an Example out of Marsyas 32Timothy Saunders Copyrighted Material4 Text, Theory, and Reception 44Kenneth Haynes5 Surfing the Third Wave? Postfeminism and the Hermeneutics of Reception 55Genevieve Liveley6 Allusion as Reception: Virgil, Milton, and the Modern Reader 67Craig Kallendorf7 Hector and Andromache: Identification and Appropriation 80Vanda Zajko8 Passing on the Panpipes: Genre and Reception 92Mathilde Skoie9 True Histories: Lucian, Bakhtin, and the Pragmatics of Reception 104Tim Whitmarsh10 The Uses of Reception: Derrida and the Historical Imperative 116Miriam Leonard11 The Use and Abuse of Antiquity: The Politics and Morality of Appropriation 127Katie FlemingPart II Studies in Reception 13912 The Homeric Moment? Translation, Historicity, and the Meaning of the Classics 141Alexandra Lianeri13 Looking for Ligurinus: An Italian Poet in the Nineteenth Century 153Richard F. Thomas14 Foucault’s Antiquity 168James I. Porter15 Fractured Understandings: Towards a History of Classical Reception among Non-Elite Groups 180Siobhán McElduff16 Decolonizing the Postcolonial Colonizers: Helen in Derek Walcott’s Omeros 192Helen Kaufmann17 Remodeling Receptions: Greek Drama as Diaspora in Performance 204Lorna Hardwick18 Reception, Performance, and the Sacrifice of Iphigenia 216Pantelis Michelakis19 Reception and Ancient Art: The Case of the Venus de Milo 227Elizabeth Prettejohn20 The Touch of Sappho 250Simon Goldhill21 (At) the Visual Point of Reception: Anselm Feuerbach’s Das Gastmahl des Platon; or, Philosophy in Paint 274John Henderson22 Afterword: The Uses of “Reception” 288Duncan F. KennedyBibliography 294Index 325

?Classics has a particular stake in critical thought that addresses the problem of our (as classicists and readers) historical alienation from the texts we read.? (Classics Journal Online, September 2009) "In this thought-provoking and pioneering volume, the editors have put together a diverse collection of essays, which amply reflect the range of work currently carried out under the umbrella of classical reception studies. There is refreshingly no 'orthodoxy': instead, we are offered a stimulating series of questions, problems and possible solutions, which will help to provide much needed theoretical rigour to this emergent branch of classical scholarship."Fiona Macintosh, University of Oxford "A first-rate collection, with some of the most exciting and most rigorous of modern studies in classical reception."Mary Beard, University of Cambridge "[A] landmark collection ... The volume as a whole offers readers an enriched theoretical understanding of reception and its uses."Fabula "This body of work is not just a coordinated foray into someone else's territory; students of classical reception are writing a collective autobiography and developing a new charter for our discipline."Bryn Mawr Classical Review