By Craig Kallendorf; Ward W Briggs; Julia Haig Gaisser; Charles Martindale; Blackwell Reference Online (Online service)
A spouse to the Classical culture comprises the urgent desire for an up to date creation and evaluate of the transforming into box of reception experiences. A finished advent and evaluation of the classical culture - the translation of classical texts in later centuries. contains 26 newly commissioned essays from a world group of specialists. Divided into 3 sections: a chronological survey, a geographical survey, and a piece illustrating the connections among the classical culture and modern idea. Read more... heart a while / through Jan Ziolkowski -- Renaissance / via Craig Kallendorf -- Baroque / by means of Ingrid Rowland -- Neo-classicism / by way of Thomas Kaminski -- Romanticism / by means of Bruce Graver -- The Victorian period / through Norman Vance -- Modernism / through Kenneth Haynes -- Africa / through William Dominik -- Central-Eastern Europe / by means of Jerzy Axer, with the help of Katarzyna Tomaszuk -- France / via Philip Ford -- Germany and German-speaking Europe / by way of Volker Riedel -- Iberian Peninsula / by means of Luisa López Grigera -- Italy / by means of David Marsh -- Latin the USA / through Andrew Laird -- Low international locations / by means of Gilbert Tournoy -- Scandinavia / by way of Minna Skafte Jensen -- uk / by means of Richard Jenkyns -- usa / through Ward Briggs -- Reception experiences / by means of Charles Martindale -- Postcolonial stories / via Lorna Hardwick -- Gender and sexuality / by means of Alastair J.L. Blanshard -- Politics / via Katie Fleming -- Psychology / via Fabio Stok -- glossy and post-modern artwork and structure / through Gail Levin -- movie / by way of Karl Galinsky
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Extra resources for A companion to the Classical tradition
Another strategy entailed replacing pagan classics by reassembling their elements in forms that better suited Christian beliefs and aesthetics. Medieval churches sometimes incorporated architectural components, such as columns, from pagan temples, as reliquaries did small craft objects from antiquity, such as engraved gems, cameos, and coins. The most extreme literary parallel to such reutilization in architecture and art was the cento, a type of poetry that was constructed entirely or mainly of lines and phrases quoted from earlier poems.
The paradox is that in the Middle Ages the classics were not defined as such. In fact, it may be anachronistic to impose a schema of ‘‘classical’’ and ‘‘nonclassical’’ upon the medieval period. Schoolmasters and exegetes, the medieval equivalents of modern-day literary historians, did not differentiate texts as classical and postclassical, but rather as pagan or Christian; prose, metrical, or rhythmic; and so forth. For people in the Middle Ages, authors who are now labeled ‘‘postclassical’’ or at best ‘‘late antique’’ sometimes stood on a comparable if not equal footing with Horace, Statius, or Vergil in the frequency with which they were written out in scriptoria and in the intensity with which they were perused in the curriculum (Munk Olsen 1991).
3 Ideological Critique While the claim that the classics had been reborn in the Renaissance explains a number of important phenomena about the period, it also leaves the modern observer more than a little uneasy. Some classical texts were taught throughout the Middle Ages, and the poetry of Dante Alighieri (1265–1321) and the illustrated manuscripts of the Ovide moralise´ (Ovid moralized) make it difficult – indeed impossible – still to argue that the classics ever died during the thousand years after the fall of the Roman empire.