The Classics Which Is (Not) Ours
We have framed this collection of writing about ancient Greek and Roman literature around the contrary idea of the "Greece which is (not) ours" in an attempt to capture the dynamic and creative tensions that arise when doing classical scholarship in full awareness of the different ways in which successive generations of readers and scholars have constructed ancient Greece and Rome in their own image.
MoreAeneas and the Aeneid transform the tale of Dido, the Punic city’s own national myth. At the same time, Virgil’s rewriting criticizes that myth on its own terms.
A 'democratic turn' in classical reception studies would then mean a whole-hearted commitment to cultivating and participating in such spaces.
It is well past time for this contemporary configuration of Classics to die, so that it might be born into a new life.
Penelope’s wonder encapsulates both her amazement and an act of speculation, of reckoning her position among others in her social world.
Why not invest in an Afro-pessimistic critique that kept all options for reparative intellectual justice — including the demolition of the discipline itself — on the table?
What we offer here is a still preliminary and provisional sketch of some ways of conceptualizing the field beyond the parameters of hyperinclusivity and hypercanonicity.
A certain kind of technological innovation (or better, development) was going on all through antiquity, but there were limits to this development.
In Plato's presentation of Athenian democracy in a metic frame, Athenian membership re-emerges as a question, not a given, for political life.
The Victorians have been ridiculed for romantically construing ancient Greece as the sunny childhood of humanity, but doing so made sense to them.