The Novel of Neronian Rome and its Multimedial Transformations

Monika Woźniak is Associate Professor of Polish Language and Literature at the University of Rome 'La Sapienza'. Her research has addressed issues of literary translation, children's literature in translation, and audiovisual translation. She is co-author of Historia na ekranie. Gatunek filmowy a przekład audiowizualny (History on the Screen. Cinematographic Genre and Audiovisual Translation) (Kraków, 2018). She is co-editor of Cinderella across Cultures (Wayne University Press, 2016) and the conference proceedings Quo vadis: da caso letterario al fenomeno della cultura di massa (Rome, 2016).Maria Wyke is Professor of Latin at University College London. Her research interests include the reception of ancient Rome, especially in popular culture. She is the author of Projecting the Past: Ancient Rome, Cinema and History (Routledge, 1997), The Roman Mistress: Ancient and Modern Representations (OUP, 2000), Caesar: A Life in Western Culture (Granta and the University of Chicago Press, 2007), and Caesar in the USA (University of California Press, 2012). Wyke has edited or co-edited eight volumes to date, including The Ancient World in Silent Cinema (CUP, 2013), Julius Caesar in Western Culture (Blackwell, 2006), and The Uses and Abuses of Antiquity (Peter Lang, 1999).

• 1: Monika Wo'zniak and Maria Wyke: IntroductionI. Literary Context2: Jerzy Axer: The Paradoxes of Quo vadis: The Polish Classical Tradition in Action3: Adam Zió/lkowski: Sienkiewicz and the Topography of Ancient Rome. The Riddle of Ostrianum in Quo vadis4: Ewa Skwara: Costumes in Henryk Sienkiewicz's Quo vadis and Their Literary and Painterly Sources5: Ruth Scodel: Quo vadis and Ancient Rome in the United States, 1896-19056: Comparing the Reception of Quo Vadis and Ben-Hur in the United States, 1896-1913II. Quo vadis up to the Second World War7: David Mayer: Quo vadis on the stage8: Stella Dagna: Dangerous Liaisons: Quo vadis? (1913, dir. Enrico Guazzoni) and the Previous Theatrical Adaptations of Sienkiewicz's Novel9: Maria Wyke: Word and Image: Competitive Adaptation in the Feature Film Quo vadis? (1913)10: Raffaele De Berti & Elisabetta Gagetti: Illustrating Quo vadis in Italy (1900-1925): Between Cultivated Tradition and Popular Culture11: Ewa Górecka: Horror amid Sweetness: Kitsch and the Intertextual Strategies of Quo vadis PostcardsIII. Quo vadis post the Second World War12: Jonathan Stubbs: 'A more permanent world': Quo Vadis (1951), Runaway Production, and the Internationalisation of Hollywood13: Martin M. Winkler: M-G-M's QVO VADIS: From Historical Fiction to Screen Spectacle14: Monika Wo'zniak: 'O omnivorous powers, hail!': Film Dialogue in Quo Vadis (1951)15: Monica dall'Asta and Alessandro Faccioli: Ursus as a Serial Figure16: El:zbieta Ostrowska: The (In)discreet Charm of the Romans: Quo vadis (dir. Jerzy Kawalerowicz, 2001)

His paper is based on intimate acquaintance with the rhythms, leaders and main themes of Polish classicism. This level of insight should appeal greatly to an anglophone audience, who will surely learn much from its observations on the importance of Latinity to the creation of a Polish national image, especially under the Russian and German occupations, and from its analysis of the ways in which the Polish language was masterfully employed to construct an inspirational but believable picture of Neronian Rome.