Antiquity now : the classical world in the contemporary by Thomas E. Jenkins

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By Thomas E. Jenkins

Written in a full of life and obtainable type, Antiquity Now opens our gaze to the myriad makes use of and abuses of classical antiquity in modern fiction, movie, comics, drama, tv - or even web boards. With each bankruptcy targeting a special element of classical reception - together with sexuality, politics, gender and ethnicity - this e-book explores the ideological motivations in the back of modern American allusions to the classical global. finally, this kaleidoscope of receptions - from demands marriage equality to examinations of gang violence to passionate pleas for peace (or conflict) - finds a 'classical antiquity' that reconfigures itself day-by-day, as modernity explains itself to itself via ever-expanding applied sciences and media. Antiquity Now therefore examines the often-surprising redeployment of the artwork and literature of the traditional international, a geography charged with especial price within the modern mind's eye

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Robert Fagles’ 2006 version of the Aeneid, for instance, translates the heroine Dido’s bitter harangue against Aeneas— who is deserting her for a chance to found Rome—like so: I hope, I pray, if the just gods still have any power, wrecked on the rocks mid-sea you’ll drink your bowl of pain to the dregs, crying out the name of Dido, over and over, and worlds away I’ll hound you even then With pitch-black flame. . 383) and the English; how it misses the ironic appellation of the gods as pia (l. 381), a phrase that hurls Aeneas’ usual epithet of pius, ‘pious,’ back in his face; how the phrase “over and over” neatly adds a sense of futility to the phrase saepe uocaturum, ‘often about-to-shout,’ and how the verb “hound” adds a hunting metaphor that may or may not be present in the original verb sequar (‘I shall follow’).

1704) outlines (and wholly rejects) an antagonistic relationship: for Swift (as for many English authors), modern literature largely depended on ancient literature for inspiration and for guidance. This relationship became known, in both classical studies and in the academy more widely, as “the classical tradition,” or the “influence” of earlier (and implicitly) greater minds on subsequent artists. This influence might seem direct and bold—say, Richard Strauss’ operatic version of Sophocles’ Elektra—or rather more opaque and obscure (Alexander Pope’s loopy, parodic Duncaid, a skewering of Virgil’s staid Aeneid).

Socrates next relates his own personal interrogation by the wise woman Diotima, who argues that Eros is a continual process of seeking its own lack, which, following in a step-wise progression, ultimately ends in the soul’s quest for beauty; gazing upon this great sea of beauty, the soul then “gives birth to many gloriously beautiful ideas and theories” in unstinting love of wisdom. The Symposium famously concludes by shifting from the esoteric musings of Diotima/Socrates to the drunken ramblings of the beautiful playboy Alcibiades, who crashes the party only to find his own object of desire, Socrates, in attendance.

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