The Classical Tradition: Art, Literature, Thought presents an authoritative, coherent and wide-ranging guide to the afterlife of Greco-Roman antiquity in later Western cultures and a ground-breaking reinterpretation of large aspects of Western culture as a whole from a classical perspective. Features a unique combination of chronological range, cultural scope, coherent argument, and unified analysis Written in a lively, engaging, and elegant manner Presents an innovative overview of the afterlife of antiquity Crosses disciplinary boundaries to make new sense of a rich variety of material, rarely brought together Fully illustrated with a mix of color and black & white images
Originally published in 1949, Gilbert Highet's seminal The Classical Tradition is a herculean feat of comparative literature and a landmark publication in the history of classical reception. As Highet states in the opening lines of his Preface, this book outlines "the chief ways in which Greek and Latin influence has moulded the literatures of western Europe and America". With that simple statement, Highet takes his reader on a sweeping exploration of the history of western literature. To summarize what he covers is a near-impossible task. Discussions of Ovid and French literature of the Middle Ages and Chaucer's engagement with Virgil and Cicero lead, swiftly, into arguments of Christian versus "pagan" works in the Renaissance, Baroque imitations of Seneca, and the (re)birth of satire. Building momentum through Byron, Tennyson, and the rise of "art of art's sake", Highet, at last, arrives at his conclusion: the birth and establishment of modernism. Though his humanist style may appear out-of-date in today's postmodernist world, there is a value to ensuring this influential work reaches a new generation, and Highet's light touch and persuasive, engaging voice guarantee the book's usefulness for a contemporary audience. Indeed, the book is free of the jargon-filled style of literary criticism that plagues much of current scholarship. Accompanied by a new foreword by renown critic Harold Bloom, this reissue will enable new readers to appreciate the enormous legacy of classical literature in the canonical works of medieval, Renaissance, and modern Europe and America.
Although Charles Ives has long been viewed as the quintessential American composer, he placed himself in the European classical tradition, drew on it heavily for his aesthetic philosophy and musical techniques, and extended it to create something new. This book illuminates Ives's music by comparing it with that of other composers in Europe and the United States. Edited by two highly regarded Ives scholars, the book begins with essays that examine the influences on Ives of his musical predecessors and concludes with essays that find extensive parallels between Ives and such European contemporaries as Mahler, Schoenberg, Berg, and Stravinsky, whose music he knew little or not at all, but with whom he shared influences and concerns. Taken together, these chapters demonstrate that even apparently strange or distinctively American aspects of Ives's music--from his penchant for quotation to his juxtaposition of disparate styles--have strong precedents and parallels among European composers. Ives emerges as a composer at home in the classical tradition, engaged in exploring the same issues that confronted composers of his generation on both sides of the Atlantic.
This definitive account of the nature and development of farming practices from Greek and Roman times to the mid-19th century describes how each generation of farmers based their methods on the spoken word of former centuries.
In these five essays Niall Rudd presents an eclectic set of comparisons between certain ancient authors and later English writers ranging from Chaucer to Pound. He shows how five English writers consciously used and adapted classical works, and in so doing he illuminates both the classical authors and their English imitators and admirers. Readable translations and summaries of the Latin sources make these stimulating studies accessible even to scholars and students with little or no Latin. The first essay compares Chaucer's treatment of Dido in The House of Fame and The Legend of Good Women with Virgil's presentation of Dido in the Aeneid, and Ovid's in Heroides 7. The second essay, comparing Shakespeare's The Comedy of Errors with Plautus' Menaechmi, demonstrates how Shakespeare, weaving Roman farce into the framework of Hellenistic romance, developed both genres into something richer and more complex. The third essay on Pope's Epistle to Augustus shows his conversion of Horace's praise of Augustus into an anti-royalist attack on George II. In the fourth essay, Rudd discusses how much of Tennyson's Lucretius is invented and imported by Tennyson as a way of externalizing the inner conflicts he experienced in the age of doubt. The final essay, on Pound and Propertius, looks at Pound's representation of the Latin poet in Homage to Sextus Propertius, specifically in the areas of imperial politics, love, and language. In his preface Rudd writes: 'Everyone knows of the Classical Tradition - comprehending it is another matter.' This book brings it closer to our understanding.
Art Nouveau was a style for a new age, but it was also one that continued to look back to the past. This new study shows how in expressing many of their most essential concerns – sexuality, death and the nature of art – its artists drew heavily upon classical literature and the iconography of classical art. It challenges the conventional view that Art Nouveau's adherents turned their backs on Classicism in their quest for new forms. Across Europe and North America, artists continued to turn back to the ancient world, and in particular to Greece, for the vitality with which they sought to infuse their creations. The works of many well-known artists are considered through this prism, including those of Gustav Klimt, Aubrey Beardsley and Louis Comfort Tiffany. But, breaking new ground in its comparative approach, this study also considers some of the movement's less well-known painters, sculptors, jewellers and architects, including in central and eastern Europe, and their use of classical iconography to express new ideas of nationhood. Across the world, while Art Nouveau was a plural style drawing on multiple influences, the Classics remained a key artistic vocabulary for its artists, whether blended with Orientalist and other iconographies, or preserving the purity of classical form.
This collection of essays provides the latest scholarship on Graves' historical fiction (for example in I, Claudius and Count Belisarius) and his use of mythical figures in his poetry, as well as an examination of his controversial retelling of the Greek Myths.
The Classical Tradition in Economic Thought demonstrates that classicism, in all its many faces, is not only alive but generating an ongoing flow of interpretative literature which will be of interest to students and scholars concerned with economic theory and the history of economic thought as well as the heterodox schools in modern economics.
In this volume, Roynon explores Toni Morrison's widespread engagement with ancient Greek and Roman tradition. Discussing all ten of her published novels to date, as well as her extensive non-fiction, she examines the ways in which classical myth, literature, history, social practice, and religious ritual make their presence felt in Morrison's writing. Combining original and detailed close readings with broader theoretical discussions, which contexualize thosereadings within current debates about the politics of race and gender, she argues that Morrison's classical allusiveness is characterized by a strategic ambivalence. Adopting a thematic, rather thannovel-by-novel approach, Roynon demonstrates that Morrison's classicism is fundamental to the transformative critique of American culture that her work effects.