Theodore Ziolkowski has been writing in the fields of German literature (especially Hermann Hesse) and comparative literature for some 50 years. One of his abiding interests has been an examination of what happens to the mythology, themes and plots embedded in works of ancient literature when modern writers and other artists encounter them.
Classical works formed the kernel of Thomas Jefferson's libraries. The third president read both Latin and Greek. He wrote repeatedly of his fondness of classical literature and died, on 4 July 1826, with Seneca's work open on his bedside table. Nonetheless, Jefferson in many ways doubted the classical world was the original mold upon which the American experiment had to be built.
In the year 321 BC a powerful chieftain, known to history as Chandragupta Maurya, came to the throne of Magadha, one of the many north Indian states, in a part of India that is now known as Bihar.
Playing on the title of Robert Hughes's popular history of modernist art, The Shock of the New (1980), Larry Norman recreates that moment in 17th- and 18th-century France when the classical literary texts that Renaissance humanists had treated as timeless vehicles of cultural value, and so put at the core of European education, came to many to seem shockingly ‘primitive,’ even ‘barbari
Simon Goldhill throws down the gauntlet to the entire field of classical reception studies in his new book Victorian Culture and Classical Antiquity. This flourishing sub-discipline of Classics has, in the last two decades in particular, explored a variety of theoretical and methodological approaches.
In an age of crisis a late Roman bureaucrat offered a plan for reforming military recruitment and training to an unnamed emperor, who requested the project’s continuation.
As L. P. Hartley famously remarked in The Go-Between (1953), ‘The past is a foreign country: they do things differently there’. This was more prescient than he knew, for most of the English-speaking world now seems to view the past not merely as foreign but as totally alien – diverting at times, perhaps, but utterly irrelevant to them and their lives.
One can hardly imagine that several decades ago the concept of spolia did not yet indicate a field of widespread research in the history of architecture, art and archaeology. The title of this volume with 12 essays and a fascinating introduction, points to this change in research focus, since the value of reuse of objects and materials has not always been recognized.