Locating Classical Receptions on Screen: Masks, Echoes, Shadows

ISBN-13: 9783030071967 / Angielski / Miękka / 2019 / 198 str.

Ricardo Apostol; Anastasia Bakogianni

Spis treści

1. Introduction Face to Face: Locating Classical Receptions on Screen; Ricardo Apostol and Anastasia Bakogianni.- 2. Indirect or Masked Modysseys? Establishing a Working Set of Criteria; Gregory N. Daugherty.- 3. Sacrificial Shadows: Tragic Greek Heroines Reinvented for Television in Buffy the Vampire Slayer and Game of Thrones; Tania Evans and Amanda Potter.- 4. Statues, Synths and Simulacra: The Ovidian Contours of Screen Pygmalions; Paula James.- 5. Artefacts, Authenticity and Digital Idols: The Classical After-Image in Contemporary Hollywood Stardom; Michael Williams.- 6. From Album Alitem to Black Swan: Horace and Aronofsky on Poetic Perfection and Death; Ricardo Apostol.- 7. Shades of Ajax: In Search of the Tragic Hero in Modern War Movies; Anastasia Bakogianni.

O autorze

Ricardo Apostol received his PhD from the University of Michigan, USA, and his research focuses on theory and classical reception studies. He has published articles on Latin and Greek poetry as well as the classics in film and television, and currently teaches at George School.

Anastasia Bakogianni is Lecturer in Classical Studies at Massey University, New Zealand, author of Electra Ancient & Modern: Aspects of the Tragic Heroine’s Reception (2011), editor of Dialogues with the Past: Classical Reception Theory and Practice (2013) and co-editor of War as Spectacle: Ancient and Modern Perspectives on the Display of Armed Conflict (2015).

Blurb

This volume explores film and television sources in problematic conversation with classical antiquity, to better understand the nature of artistic reception and classical reception in particular. Drawing inspiration from well-theorized fields like adaptation studies, comparative literature, and film, the essays in this collection raise questions fundamental to the future of reception studies. The first section, ‘Beyond Fidelity’, deals with idiosyncratic adaptations of ancient sources; the second section, ‘Beyond Influence’, discusses modern works purporting to adapt ancient figures or themes that are less straightforwardly ancient than they may at first appear; while the last section, ‘Beyond Original’, uses films that lack even these murky connections to antiquity to challenge the notion that studying reception requires establishing historical connections between works. As questions of audience, interpretation, and subjectivity are central to most contemporary fields of study, this is a collection that is of interest to a wide variety of readers in the humanities.