MSt Theory and Methods of Reception
Michaelmas Term 2014
(Thursdays, 2-3.30pm, APGRD Study Room, Classics Centre)
The following will also lead and/or be present at some of the
seminars (for details, see below):
Week 1 –
Classical Reception and/or the Classical Tradition: from periphery to
centre
Week 2 –
Formalism, New Criticism and Iser’s Reader response theory Week 3 –
Marxist Literary theory and Jauss’s Rezeptionstheorie Week 4 –
Anglophone Classical Reception theory – Martindale, Hardwick, Porter,
Burrow
Week 5 –
Classical Performance Reception – Bennett, Hall, Hall and Harrop
Week 6 –
Classical Reception, Comparative Literature and World Literatures –
Bassnett, Damrosch
Week 7 –
Classical Reception and/or Cultural Studies – the ‘democratic turn’;
classics and class – Malamud, Hardwick, Hall, Wyke
Week 8 –
Classical Reception, Translation Studies, Adaptation Theory – the
‘creative turn’; appropriation/adaptation – Venuti, Hutcheon, Sanders
Note on the Course: Weeks 2-3 explore the genealogy of Classical Reception
Studies; Weeks 4-5 focus on recent theoretical discussions in Classical Reception
generally and Performance Reception in particular. Weeks 6-8 examine the various
ways in which methods employed in Classical Reception Studies relate to those
within other well-established disciplines within the academy, including (in Week 8
through translation of ancient texts) Classics itself.
Recommended Reading:
Bailey, P. (1994) ' Conspiracies of Meaning: Music-Hall and the Knowingness of Popular Culture'
Past
& Present: 138-170
Bassnett. S. (1991),
Translation Studies (rev. ed.). London
_____ (1993),
Comparative Literature: A Critical Introduction. Blackwell, Oxford
_____ and A. Lefevre (edd. 1998),
Constructing Cultures. London
Bennett, S. (1990),
Theatre Audiences: A Theory of Production and Reception. New York
1
Bolgar, R.R. (1954),
The Classical Heritage and Its Beneficiaries. Cambridge
Budelmann, F. (2004), ‘Greek tragedies in West African Adaptations’
PCPhS 50: 1-28 (repr. in B.
Goff (ed. 2005),
Classics and Colonialism. London)
_____ and J. Haubold (2008), ‘Reception and Tradition ‘ in Hardwick and Stray (edd.): 13-25
Clarke, G.W. (ed. 1989),
Rediscovering Hellenism: The Hellenic Inheritance and the English
Imagination. Cambridge
Clarke, M.L (1945),
Greek Studies in England 1700-1830. Cambridge
Damrosch, D. (2003),
What is World Literature? Princeton, NJ.
DeMaria, R. Jr and R. Brown (2006),
Classical Literature and Its Reception: An Anthology. Blackwell,
Oxford
Easterling, P.E. & E. Hall (edd. 2002),
Greek and Roman Actors: Aspects of an Ancient Profession.
Cambridge
Flashar, H, (2009),
Inszenierung der Antike: das griechische Drama auf der Bühne der Neuzeit. 2nd ed.
Munich
France, P. (ed.2000),
The Oxford Guide to Literature in Translation. Oxford
Gadamer, H.-G. (1975),
Truth and Method. New York (tr. G.Barden & J. Cumming from the 2nd ed.,
1965; 1st ed. 1960)
Gillespie, S. (1998),
The Poets on the Classics. An Anthology. London & New York
Goff, B. (ed. 2005),
Classics and Colonialism. London
______ and M.Simpson (edd. 2007),
Crossroads in the Black Aegean. Oxford
Goldhill, S. (2002),
Who Needs Greek? Contests in the Cultural History of Hellenism. Cambridge
Hall, E. (2004), ‘Towards a Theory of Performance Reception’
Arion 12: 51-89
_____ (2008a), ‘Putting the Class into Classical Reception’ in Hardwick and Stray (edd.): 386-398
_____ (2008b),
The Return of Ulysses: A Cultural History of Homer’s Odyssey. New York
______ (2013),
Adventures with Iphigenia in Tauris. Oxford/New York,
_____, F. Macintosh & O. Taplin (edd. 2000),
Medea in Performance, 1500-2000. Oxford
_____ F. Macintosh & A. Wrigley (edd. 2004),
Dionysus Since 69: Greek Tragedy at the Dawn of the
Third Millennium. Oxford
______ and F. Macintosh (2005),
Greek Tragedy and the British Theatre 1660-1914. Oxford
_____ and S. Harrop (edd. 2010),
Theorising Performance Reception. London
Hardwick, L. (2000),
Translating Words, Translating Cultures. London
_____ (2003),
Reception Studies (
Greece & Rome New Surveys in the Classics No.33). Oxford
_____ and C. Gillespie (edd.2007),
Classics in Post-Colonial Worlds. Oxford
_____ and C. Stray (edd. 2007),
A Companion to Classical Receptions. Blackwell, Oxford
Harloe, K. (2010), ‘Can Political Theory Provide a Model for Reception? Max Weber and Hannah
Arendt’,
Cultural Critique 74 (Winter): 17-31
Harrison, S. (ed. 2009),
Living Classics: Greece and Rome in Contemporary Poetry in English. Oxford
Haynes, K (2003).
English Literature and Ancient Lnaguages. Oxford
Heath, M. (1987), ‘Iure principem locum tenet: Euripides’
Hecuba’,
BICS 34: 40-68
Highet, G. (1949),
The Classical Tradition: Greek and Roman Influences on Western Literature.
Oxford
Holub, R. C. (1984),
Reception Theory: A critical introduction. London & New York
Hutcheon, L. (2006),
A Theory of Adaptation. New York & London
Iser, W. (1990),
The Implied Reader: Patterns of Communication from Bunyan to Beckett. Baltimore
& London
_____ (1991),
The Act of Reading: A Theory of Aesthetic Response. Baltimore & London
Jauss, H.R. (1982),
Toward an Aesthetic of Reception (tr. T.Bahti). Minneapolis
Jenkyns, R. (1980),
The Victorians and Ancient Greece. Oxford
_______ (1991),
Dignity and Decadence. London
Kallendorf, C. (ed. 2007),
A Companion to the Classical Tradition. Blackwell, Oxford
Leonard, M. (2005),
Athens in Paris. Oxford
Lianeri, A. and V. Zajko (2008),
Translation and the Classic: Identity as Change in the History of
Culture. Oxford
Macintosh, F. (1994),
Dying Acts: Death in Ancient Greek and Modern Tragic Drama. Cork
_____ (1997), ‘Tragedy in performance: nineteenth- and twentieth-century Productions’, in P.
Easterling (ed.),
The Cambridge Companion to Greek Tragedy. Cambridge: 284-324
_____ (2009).
Sophocles’ Oedipus Tyrannus. Cambridge
_____, P. Michelakis, E .Hall and O. Taplin (edd. 2005),
Agamemnon in Performance 458BC to
AD2004. Oxford
Malamud, M. (2008),
Ancient Rome and Modern America. Blackwell, Oxford.
2
Martindale, C. (1993),
Redeeming the Text: Latin Poetry and the Hermeneutics of Reception.
Cambridge
_______ and A.B. Taylor (edd. 2004),
Shakespeare and the Classics. Cambridge
_______ and R. F. Thomas (edd. 2006),
Classics and the Uses of Reception. Oxford
Mathews, T. and J. Parker (edd. 2011),
Tradition, Translation, Trauma: The Classic and the Modern.
Oxford
McConnell, J. (2013),
Black Odysseys: The Homeric Odyssey in the African Diaspora since 1939.
Oxford
Michelakis, P. (2006), ‘Reception, Performance and the Sacrifice of Iphigenia’ in Martindale and
Thomas (edd.), 216-226
Orrells, D., G.K Bhambra and T. Roynon (edd. 2011),
African Athena: New Agendas . Oxford
Porter, J.I. (2005),
Classical Pasts: The Classical Traditions of Greece and Rome. Princeton
Rood, T. (2004),
The Sea! The Sea! The Shout of the Ten Thousand in the Modern Imagination.
London
Sanders, J. (2006),
Adaptation and Appropriation. London and New York
Sculter, R. and J. Buguenet (1992),
Theories of Translation. Chicago and London
Silk, M.S., I. Gildenhard and R. Barrow (2013),
The Classical Tradition: Art, Literature, Thought.
Wiley-Blackwell
Stanford, W.B.(1954),
The Ulysses Theme: A Study in the Adaptability of a Traditional Hero. Oxford
________ (1976
) Ireland and the Classical Tradition. Dublin
Stray, C.A. (1998),
Classics Transformed: Schools and Universities and Society in England 1830-
1960. Oxford
Venuti, L. (ed. 2004).
The Translation Studies Reader (2nd ed.). New York & London
Vernant, J.-P. (1988), ‘Oedipus with the Complex’ in J.-P.Vernant & P. Vidal-Naquet,
Myth and
Tragedy in Ancient Greece (tr. Janet Lloyd). New York: 85-111
Vidal-Naquet, P. (1988), ‘Oedipus in Vicenza and in Paris: Two Turning Points in the History of
Oedipus’ in J.-P.Vernant & P. Vidal-Naquet,
Myth and Tragedy in Ancient Greece (tr. Janet
Lloyd). New York: 361-80
Wyke, M. (1997).
Projecting the past: ancient Rome, cinema, and history. New York
Standard Reference Works:
Avery, E.L., C.B.Hogan, A.H.Scouten, G.W.Stone & W.Van Lennep (edd.) (1965-8)
The London
Stage, 1660-1800: A Calendar of Plays and Afterpieces…Carbondale, Illinois
Der Neue Pauly: Rezeptions- und Wissenschaftsgeschichte, Supplemente, Band 4. Stuttgart and
Weimar 2005.
DNB (1908-9)
[=Dictionary of National Biography] 2nd Ed. 22 Vols. London
Enciclopedia dello spettacolo (1954-62). 9 Vols. Rome. Supplemented by Vol.10,
Cinema, Teatro,
Balleto (Rome 1982)
New Grove Dictionary of Music and Musicians (2001), 2nd Ed., ed. Stanley Sadie, 29 vols London [7th
ed. Counting from the original
Dictionary = available as Grove Music Online]
Allardyce Nicholl B. (1925),
British Drama. Fourth edition. London / Toronto / Bombay / Sydney
-----
(1952-9),
A History of English Drama 1660-1900. Cambridge
ODNB [=Oxford Dictionary of National Biography]. 60 Vols. (Oxford 2004) Reid, Jane Davidson (1993),
Oxford Guide to Classical Mythology in the Arts. 2 Vols. New York &
Oxford
Wearing, J.P. (1991),
The London Stage, 1930-1939: a calendar of plays and players. London
Online Resources:
APGRD Database, University of Oxford [http://www.apgrd.ox.ac.uk/database]
Open University project ‘The Reception of the Texts and Images of Ancient Greece in late twentieth-
century drama and poetry in English’ http://www2.open.ac.uk/ClassicalStudies/GreekPlays/
International Journal of the Classical Tradition : http://www.bu.edu/ict/about/index.html
Classical Receptions Journal 5, Issue 2, June 2013 – Special Issue ‘Redeeming the text – 20 years on’
Arion journal : http://www.bu.edu/arion/
Classical Receptions Journal (http://crj.oxfordjournals.org/)
3
M.St Seminar on the History, Methodology and Theory of
Classical Reception Studies
Thursdays, 2-3.30 pm, Ioannou Centre
Week 1 (13 October) – Introduction
Week 2 (20 October) – Hermeneutics, Rezeptionsästhetik, and Reader Response criticism
Week 3 (27 October) – Classical Performance Reception
Week 4 (3 November) – Anglophone Classical Reception theory
Week 5 (10 November) – Reception and the ‘Case Study’
Week 6 (17 November) – Classical Reception and/or Cultural Studies
Week 7 (24 November) – Classical Reception, Comparative Literature and World
Literatures
Week 8 (1 December) – Classical Reception, Translation Studies, Adaptation Theory
Some Reading Suggestions:
Bailey, P. (1994) ' Conspiracies of Meaning: Music-Hall and the Knowingness of Popular
Culture'
Past & Present: 138-170
Bassnett. S. (1991),
Translation Studies (rev. ed.). London
Bassnett, S. (1993)
Comparative Literature: A Critical Introduction. Blackwell, Oxford
Bassnett, S. and A. Lefevre (edd. 1998),
Constructing Cultures. London
Bennett, S. (1990),
Theatre Audiences: A Theory of Production and Reception. New
York
Bolgar, R.R. (1954),
The Classical Heritage and Its Beneficiaries. Cambridge
Budelmann, F. (2004), ‘Greek tragedies in West African Adaptations’
PCPhS 50: 1-28
(repr. in B. Goff (ed. 2005),
Classics and Colonialism. London)
Budelmann, F. and J. Haubold (2008), ‘Reception and Tradition ‘ in Hardwick and Stray
(edd.): 13-25
Butler, S. (2016),
Deep Classics: Rethinking Classical Reception. London.
Clarke, G.W. (ed. 1989),
Rediscovering Hellenism: The Hellenic Inheritance and the
English Imagination. Cambridge
Clarke, M.L (1945),
Greek Studies in England 1700-1830. Cambridge
Damrosch, D. (2003),
What is World Literature? Princeton, NJ.
DeMaria, R. Jr and R. Brown (2006),
Classical Literature and Its Reception: An
Anthology. Blackwell, Oxford
Easterling, P.E. & E. Hall (edd. 2002),
Greek and Roman Actors: Aspects of an Ancient
Profession. Cambridge
Flashar, H, (2009),
Inszenierung der Antike: das griechische Drama auf der Bühne der
Neuzeit nd
. 2
ed. Munich
France, P. (ed.2000),
The Oxford Guide to Literature in Translation. Oxford
Gadamer, H.-G. (1975),
Truth and Method. New York (tr. G.Barden & J. Cumming from
nd
st
the 2
ed., 1965; 1
ed. 1960)
Gillespie, S. (1998),
The Poets on the Classics. An Anthology. London & New York
Goff, B. (ed. 2005),
Classics and Colonialism. London
Goff, B. and M. Simpson (edd. 2007),
Crossroads in the Black Aegean. Oxford
Goldhill, S. (2002),
Who Needs Greek? Contests in the Cultural History of Hellenism.
Cambridge
Grafton, A., G. Most, S. Settis (eds 2010),
The Classical Tradition. Harvard.
Graziosi, B and E. Greenwood (eds),
Homer in the Twentieth Century: Between World
Litertaure and the Western Canon. Oxford
Greenwood, E. (2010),
Afro-Greeks: Dialogues between Anglophone Caribbean
Literature and Classics in the Twentieth Century. Oxford.
Güthenke, C. (2009), 'Shop Talk. Reception Studies and Recent Work in the History of
Scholarship',
Classical Receptions Journal 1 (2009): 104-115.
Hall, E. (2004), ‘Towards a Theory of Performance Reception’
Arion 12: 51-89
_____ (2008a), ‘Putting the Class into Classical Reception’ in Hardwick and Stray (edd.):
386-398
_____ (2008b),
The Return of Ulysses: A Cultural History of Homer’s Odyssey. New
York
______ (2013),
Adventures with Iphigenia in Tauris. Oxford/New York,
_____, F. Macintosh & O. Taplin (edd. 2000),
Medea in Performance, 1500-2000.
Oxford
_____ F. Macintosh & A. Wrigley (edd. 2004),
Dionysus Since 69: Greek Tragedy at the
Dawn of the Third Millennium. Oxford
______ and F. Macintosh (2005),
Greek Tragedy and the British Theatre 1660-1914.
Oxford
_____ and S. Harrop (edd. 2010),
Theorising Performance Reception. London
Hardwick, L. (2000),
Translating Words, Translating Cultures. London
_____ (2003),
Reception Studies (
Greece & Rome New Surveys in the Classics No.33).
Oxford
Hardwick, L. and Harrison, S. (eds. 2013),
Classics in the Modern World: A ‘Democratic
Turn’?. Oxford.
_____ and C. Gillespie (edd.2007),
Classics in Post-Colonial Worlds. Oxford
_____ and C. Stray (edd. 2007),
A Companion to Classical Receptions. Blackwell,
Oxford
Harloe, K. (2010), ‘Can Political Theory Provide a Model for Reception? Max Weber
and Hannah Arendt’,
Cultural Critique 74 (Winter): 17-31
Harrison, S. (ed. 2009),
Living Classics: Greece and Rome in Contemporary Poetry in
English. Oxford
Haynes, K (2003).
English Literature and Ancient Lnaguages. Oxford
Heath, M. (1987), ‘Iure principem locum tenet: Euripides’
Hecuba’,
BICS 34: 40-68
Highet, G. (1949),
The Classical Tradition: Greek and Roman Influences on Western
Literature. Oxford
Holub, R. C. (1984),
Reception Theory: A critical introduction. London & New York
Hutcheon, L. (2006),
A Theory of Adaptation. New York & London
Iser, W. (1990),
The Implied Reader: Patterns of Communication from Bunyan to
Beckett. Baltimore & London
_____ (1991),
The Act of Reading: A Theory of Aesthetic Response. Baltimore &
London
Jauss, H.R. (1982),
Toward an Aesthetic of Reception (tr. T.Bahti). Minneapolis
Jenkyns, R. (1980),
The Victorians and Ancient Greece. Oxford
_______ (1991),
Dignity and Decadence. London
Kallendorf, C. (ed. 2007),
A Companion to the Classical Tradition. Blackwell, Oxford
Leonard, M. (2005),
Athens in Paris. Oxford
Lianeri, A. and V. Zajko (2008),
Translation and the Classic: Identity as Change in the
History of Culture. Oxford
Macintosh, F. (1994),
Dying Acts: Death in Ancient Greek and Modern Tragic Drama.
Cork
_____ (1997), ‘Tragedy in performance: nineteenth- and twentieth-century Productions’,
in P.
Easterling (ed.),
The Cambridge Companion to Greek Tragedy. Cambridge: 284-324
_____ (2009).
Sophocles’ Oedipus Tyrannus. Cambridge
_____, P. Michelakis, E .Hall and O. Taplin (edd. 2005),
Agamemnon in Performance
458BC to AD2004. Oxford
Malamud, M. (2008),
Ancient Rome and Modern America. Blackwell, Oxford.
Martindale, C. (1993),
Redeeming the Text: Latin Poetry and the Hermeneutics of
Reception. Cambridge
_______ and A.B. Taylor (edd. 2004),
Shakespeare and the Classics. Cambridge
_______ and R. F. Thomas (edd. 2006),
Classics and the Uses of Reception. Oxford
Mathews, T. and J. Parker (edd. 2011),
Tradition, Translation, Trauma: The Classic and
the Modern. Oxford
McConnell, J. (2013),
Black Odysseys: The Homeric Odyssey in the African Diaspora
since 1939. Oxford
Michelakis, P. (2006), ‘Reception, Performance and the Sacrifice of Iphigenia’ in
Martindale and Thomas (edd.), 216-226
Orrells, D., G.K Bhambra and T. Roynon (edd. 2011),
African Athena: New Agendas .
Oxford
Porter, J.I. (2005),
Classical Pasts: The Classical Traditions of Greece and Rome.
Princeton
Rood, T. (2004),
The Sea! The Sea! The Shout of the Ten Thousand in the Modern
Imagination. London
Sanders, J. (2006),
Adaptation and Appropriation. London and New York
Sculter, R. and J. Buguenet (1992),
Theories of Translation. Chicago and London
Silk, M.S., I. Gildenhard and R. Barrow (2013),
The Classical Tradition: Art, Literature,
Thought. Wiley-Blackwell
Stanford, W.B.(1954),
The Ulysses Theme: A Study in the Adaptability of a Traditional
Hero. Oxford
________ (1976
) Ireland and the Classical Tradition. Dublin
Stray, C.A. (1998),
Classics Transformed: Schools and Universities and Society in
England 1830- 1960. Oxford
nd
Venuti, L. (ed. 2004).
The Translation Studies Reader (2
ed.). New York & London
Vernant, J.-P. (1988), ‘Oedipus without the Complex’ in J.-P.Vernant & P. Vidal-Naquet,
Myth and Tragedy in Ancient Greece (tr. Janet Lloyd). New York: 85-111
Vidal-Naquet, P. (1988), ‘Oedipus in Vicenza and in Paris: Two Turning Points in the
History of Oedipus’ in J.-P.Vernant & P. Vidal-Naquet,
Myth and Tragedy in Ancient
Greece (tr. Janet Lloyd). New York: 361-80
Wyke, M. (1997).
Projecting the past: ancient Rome, cinema, and history. New York
Standard Reference Works:
Avery, E.L., C.B.Hogan, A.H.Scouten, G.W.Stone & W.Van Lennep (edd.) (1965-8)
The
London Stage, 1660-1800: A Calendar of Plays and Afterpieces...Carbondale, Illinois
Der Neue Pauly: Rezeptions- und Wissenschaftsgeschichte, Supplemente, Band 4.
Stuttgart and Weimar 2005.
DNB
nd
(1908-9)
[=Dictionary of National Biography] 2
Ed. 22 Vols.
London
Enciclopedia dello spettacolo (1954-62). 9 Vols. Rome. Supplemented by
Vol.10,
Cinema, Teatro,
Balleto
nd
(Rome 1982)
New Grove Dictionary of Music and Musicians (2001), 2
Ed.,
th
ed. Stanley Sadie, 29 vols London [7
ed. Counting from the original
Dictionary = available as Grove Music
Online]
Allardyce Nicholl B. (1925),
British Drama. Fourth edition. London / Toronto /
Bombay / Sydney
----- (1952-9),
A History of English Drama 1660-1900. Cambridge
ODNB [=Oxford
Dictionary of National Biography]. 60 Vols. (Oxford 2004)
Reid, Jane Davidson
(1993),
Oxford Guide to Classical Mythology in the Arts. 2 Vols. New York &
Oxford
Wearing, J.P. (1991),
The London Stage, 1930-1939: a calendar of plays and
players. London
Online Resources: APGRD Database, University of Oxford [http://www.apgrd.ox.ac.uk/database]
Open University project ‘The Reception of the Texts and Images of Ancient Greece in
late twentieth- century drama and poetry in English’
http://www2.open.ac.uk/ClassicalStudies/GreekPlays/
International Journal of the Classical Tradition : http://www.bu.edu/ict/about/index.html
Classical Receptions Journal 5, Issue 2, June 2013 – Special Issue ‘Redeeming the text –
20 years on’
Arion journal : http://www.bu.edu/arion/
Classical Receptions Journal (http://crj.oxfordjournals.org/)
MSt Theory and Methods of Reception
Michaelmas Term 2017
(Thursdays, 2-3.30pm, APGRD Study Room, Classics Centre)
The following will also lead and/or be present at some of the seminars
(for details, see below):
Week 1 –
Classical Reception and/or the Classical Tradition: from periphery to
centre
Week 2 –
Formalism, New Criticism and Iser’s Reader response theory
Week 3 –
Marxist Literary theory and Jauss’s Rezeptionstheorie
Week 4 –
Anglophone Classical Reception theory – Martindale, Hardwick, Porter,
Burrow
Week 5 –
Classical Performance Reception – Bennett, Hall, Hall and Harrop
Week 6 –
Classical Reception, Comparative Literature and World Literatures –
Bassnett, Damrosch
Week 7 –
Classical Reception and/or Cultural Studies – the ‘democratic turn’;
classics and class – Malamud, Hardwick, Hall, Wyke
Week 8 –
Classical Reception, Translation Studies, Adaptation Theory – the
‘creative turn’; appropriation/adaptation – Venuti, Hutcheon, Sanders
Note on the Course: Weeks 2-3 explore the genealogy of Classical Reception
Studies; Weeks 4-5 focus on recent theoretical discussions in Classical Reception
generally and Performance Reception in particular. Weeks 6-8 examine the various
ways in which methods employed in Classical Reception Studies relate to those
within other well-established disciplines within the academy, including (in Week 8
through translation of ancient texts) Classics itself.
Recommended Reading:
Bailey, P. (1994) ' Conspiracies of Meaning: Music-Hall and the Knowingness of Popular Culture'
Past
& Present: 138-170
Bassnett. S. (1991),
Translation Studies (rev. ed.). London
_____ (1993),
Comparative Literature: A Critical Introduction. Blackwell, Oxford
_____ and A. Lefevre (edd. 1998),
Constructing Cultures. London
1
Bennett, S. (1990),
Theatre Audiences: A Theory of Production and Reception. New York
Bolgar, R.R. (1954),
The Classical Heritage and Its Beneficiaries. Cambridge
Budelmann, F. (2004), ‘Greek tragedies in West African Adaptations’
PCPhS 50: 1-28 (repr. in B.
Goff (ed. 2005),
Classics and Colonialism. London)
_____ and J. Haubold (2008), ‘Reception and Tradition ‘ in Hardwick and Stray (edd.): 13-25
Clarke, G.W. (ed. 1989),
Rediscovering Hellenism: The Hellenic Inheritance and the English
Imagination. Cambridge
Clarke, M.L (1945),
Greek Studies in England 1700-1830. Cambridge
Damrosch, D. (2003),
What is World Literature? Princeton, NJ.
DeMaria, R. Jr and R. Brown (2006),
Classical Literature and Its Reception: An Anthology. Blackwell,
Oxford
Easterling, P.E. & E. Hall (edd. 2002),
Greek and Roman Actors: Aspects of an Ancient Profession.
Cambridge
Flashar, H, (2009),
Inszenierung der Antike: das griechische Drama auf der Bühne der Neuzeit. 2nd ed.
Munich
France, P. (ed.2000),
The Oxford Guide to Literature in Translation. Oxford
Gadamer, H.-G. (1975),
Truth and Method. New York (tr. G.Barden & J. Cumming from the 2nd ed.,
1965; 1st ed. 1960)
Gillespie, S. (1998),
The Poets on the Classics. An Anthology. London & New York
Goff, B. (ed. 2005),
Classics and Colonialism. London
______ and M.Simpson (edd. 2007),
Crossroads in the Black Aegean. Oxford
Goldhill, S. (2002),
Who Needs Greek? Contests in the Cultural History of Hellenism. Cambridge
Hall, E. (2004), ‘Towards a Theory of Performance Reception’
Arion 12: 51-89
_____ (2008a), ‘Putting the Class into Classical Reception’ in Hardwick and Stray (edd.): 386-398
_____ (2008b),
The Return of Ulysses: A Cultural History of Homer’s Odyssey. New York
______ (2013),
Adventures with Iphigenia in Tauris. Oxford/New York,
_____, F. Macintosh & O. Taplin (edd. 2000),
Medea in Performance, 1500-2000. Oxford
_____ F. Macintosh & A. Wrigley (edd. 2004),
Dionysus Since 69: Greek Tragedy at the Dawn of the
Third Millennium. Oxford
______ and F. Macintosh (2005),
Greek Tragedy and the British Theatre 1660-1914. Oxford
_____ and S. Harrop (edd. 2010),
Theorising Performance Reception. London
Hardwick, L. (2000),
Translating Words, Translating Cultures. London
_____ (2003),
Reception Studies (
Greece & Rome New Surveys in the Classics No.33). Oxford
_____ and C. Gillespie (edd.2007),
Classics in Post-Colonial Worlds. Oxford
_____ and C. Stray (edd. 2007),
A Companion to Classical Receptions. Blackwell, Oxford
Harloe, K. (2010), ‘Can Political Theory Provide a Model for Reception? Max Weber and Hannah
Arendt’,
Cultural Critique 74 (Winter): 17-31
Harrison, S. (ed. 2009),
Living Classics: Greece and Rome in Contemporary Poetry in English. Oxford
Haynes, K (2003).
English Literature and Ancient Lnaguages. Oxford
Heath, M. (1987), ‘Iure principem locum tenet: Euripides’
Hecuba’,
BICS 34: 40-68
Highet, G. (1949),
The Classical Tradition: Greek and Roman Influences on Western Literature.
Oxford
Holub, R. C. (1984),
Reception Theory: A critical introduction. London & New York
Hutcheon, L. (2006),
A Theory of Adaptation. New York & London
Iser, W. (1990),
The Implied Reader: Patterns of Communication from Bunyan to Beckett. Baltimore
& London
_____ (1991),
The Act of Reading: A Theory of Aesthetic Response. Baltimore & London
Jauss, H.R. (1982),
Toward an Aesthetic of Reception (tr. T.Bahti). Minneapolis
Jenkyns, R. (1980),
The Victorians and Ancient Greece. Oxford
_______ (1991),
Dignity and Decadence. London
Kallendorf, C. (ed. 2007),
A Companion to the Classical Tradition. Blackwell, Oxford
Leonard, M. (2005),
Athens in Paris. Oxford
Lianeri, A. and V. Zajko (2008),
Translation and the Classic: Identity as Change in the History of
Culture. Oxford
Macintosh, F. (1994),
Dying Acts: Death in Ancient Greek and Modern Tragic Drama. Cork
_____ (1997), ‘Tragedy in performance: nineteenth- and twentieth-century Productions’, in P.
Easterling (ed.),
The Cambridge Companion to Greek Tragedy. Cambridge: 284-324
_____ (2009).
Sophocles’ Oedipus Tyrannus. Cambridge
_____, P. Michelakis, E .Hall and O. Taplin (edd. 2005),
Agamemnon in Performance 458BC to
AD2004. Oxford
2
Malamud, M. (2008),
Ancient Rome and Modern America. Blackwell, Oxford.
Martindale, C. (1993),
Redeeming the Text: Latin Poetry and the Hermeneutics of Reception.
Cambridge
_______ and A.B. Taylor (edd. 2004),
Shakespeare and the Classics. Cambridge
_______ and R. F. Thomas (edd. 2006),
Classics and the Uses of Reception. Oxford
Mathews, T. and J. Parker (edd. 2011),
Tradition, Translation, Trauma: The Classic and the Modern.
Oxford
McConnell, J. (2013),
Black Odysseys: The Homeric Odyssey in the African Diaspora since 1939.
Oxford
Michelakis, P. (2006), ‘Reception, Performance and the Sacrifice of Iphigenia’ in Martindale and
Thomas (edd.), 216-226
Orrells, D., G.K Bhambra and T. Roynon (edd. 2011),
African Athena: New Agendas . Oxford
Porter, J.I. (2005),
Classical Pasts: The Classical Traditions of Greece and Rome. Princeton
Rood, T. (2004),
The Sea! The Sea! The Shout of the Ten Thousand in the Modern Imagination.
London
Sanders, J. (2006),
Adaptation and Appropriation. London and New York
Sculter, R. and J. Buguenet (1992),
Theories of Translation. Chicago and London
Silk, M.S., I. Gildenhard and R. Barrow (2013),
The Classical Tradition: Art, Literature, Thought.
Wiley-Blackwell
Stanford, W.B.(1954),
The Ulysses Theme: A Study in the Adaptability of a Traditional Hero. Oxford
________ (1976
) Ireland and the Classical Tradition. Dublin
Stray, C.A. (1998),
Classics Transformed: Schools and Universities and Society in England 1830-
1960. Oxford
Venuti, L. (ed. 2004).
The Translation Studies Reader (2nd ed.). New York & London
Vernant, J.-P. (1988), ‘Oedipus with the Complex’ in J.-P.Vernant & P. Vidal-Naquet,
Myth and
Tragedy in Ancient Greece (tr. Janet Lloyd). New York: 85-111
Vidal-Naquet, P. (1988), ‘Oedipus in Vicenza and in Paris: Two Turning Points in the History of
Oedipus’ in J.-P.Vernant & P. Vidal-Naquet,
Myth and Tragedy in Ancient Greece (tr. Janet
Lloyd). New York: 361-80
Wyke, M. (1997).
Projecting the past: ancient Rome, cinema, and history. New York
Standard Reference Works:
Avery, E.L., C.B.Hogan, A.H.Scouten, G.W.Stone & W.Van Lennep (edd.) (1965-8)
The London
Stage, 1660-1800: A Calendar of Plays and Afterpieces…Carbondale, Illinois
Der Neue Pauly: Rezeptions- und Wissenschaftsgeschichte, Supplemente, Band 4. Stuttgart and
Weimar 2005.
DNB (1908-9)
[=Dictionary of National Biography] 2nd Ed. 22 Vols. London
Enciclopedia dello spettacolo (1954-62). 9 Vols. Rome. Supplemented by Vol.10,
Cinema, Teatro,
Balleto (Rome 1982)
New Grove Dictionary of Music and Musicians (2001), 2nd Ed., ed. Stanley Sadie, 29 vols London [7th
ed. Counting from the original
Dictionary = available as Grove Music Online]
Allardyce Nicholl B. (1925),
British Drama. Fourth edition. London / Toronto / Bombay / Sydney
-----
(1952-9),
A History of English Drama 1660-1900. Cambridge
ODNB [=Oxford Dictionary of National Biography]. 60 Vols. (Oxford 2004) Reid, Jane Davidson (1993),
Oxford Guide to Classical Mythology in the Arts. 2 Vols. New York &
Oxford
Wearing, J.P. (1991),
The London Stage, 1930-1939: a calendar of plays and players. London
Online Resources:
APGRD Database, University of Oxford [http://www.apgrd.ox.ac.uk/database]
Open University project ‘The Reception of the Texts and Images of Ancient Greece in late twentieth-
century drama and poetry in English’ http://www2.open.ac.uk/ClassicalStudies/GreekPlays/
International Journal of the Classical Tradition : http://www.bu.edu/ict/about/index.html
Classical Receptions Journal 5, Issue 2, June 2013 – Special Issue ‘Redeeming the text – 20 years on’
Arion journal : http://www.bu.edu/arion/
Classical Receptions Journal (http://crj.oxfordjournals.org/)
3
MSt Theory and Methods of Reception
Michaelmas Term 2018
(Thursdays, 2-3.30pm, APGRD Study Room, Classics Centre
NB There will be
no meeting in
Week 2)
Week 1 -
Classical Reception and/or the Classical Tradition: from periphery to
centre
Week 3 -
Formalism, New Criticism and Iser’s Reader response theory Week 4 -
Marxist Literary theory and Jauss’s Rezeptionstheorie Week 5 -
Anglophone Classical Reception theory (incl. Classical Performance
Reception) – Martindale, Hardwick, Porter, Burrow, Hall and Harrop
Week 6 -
Classical Reception and/or Cultural Studies – the ‘democratic turn’;
classics and class – Malamud, Hardwick, Hall, Wyke
Week 7 -
Classical Reception, Comparative Literature and World Literatures –
Bassnett, Damrosch
Week 8 -
History of Scholarship
Week 9 (or time to be negotiated) –
Classical Reception, Translation Studies,
Adaptation Theory – the ‘creative turn’; appropriation/adaptation –
Venuti, Hutcheon, Sanders
Note on the Course: Weeks 2-3 explore the genealogy of Classical Reception
Studies; Weeks 4-5 focus on recent theoretical discussions in Classical Reception
generally. Weeks 6-8 examine the various ways in which methods employed in
Classical Reception Studies relate to those within other well-established disciplines
within the academy, including Classics itself.
Recommended Reading:
Bailey, P. (1994) ' Conspiracies of Meaning: Music-Hall and the Knowingness of Popular Culture'
Past
& Present: 138-170
Bassnett. S. (1991),
Translation Studies (rev. ed.). London
_____ (1993),
Comparative Literature: A Critical Introduction. Blackwell, Oxford
_____ and A. Lefevre (edd. 1998),
Constructing Cultures. London
Bennett, S. (1990),
Theatre Audiences: A Theory of Production and Reception. New York
Bolgar, R.R. (1954),
The Classical Heritage and Its Beneficiaries. Cambridge
Budelmann, F. (2004), ‘Greek tragedies in West African Adaptations’
PCPhS 50: 1-28 (repr. in B.
Goff (ed. 2005),
Classics and Colonialism. London)
_____ and J. Haubold (2008), ‘Reception and Tradition ‘ in Hardwick and Stray (edd.): 13-25
Clarke, G.W. (ed. 1989),
Rediscovering Hellenism: The Hellenic Inheritance and the English
Imagination. Cambridge
Clarke, M.L (1945),
Greek Studies in England 1700-1830. Cambridge
Damrosch, D. (2003),
What is World Literature? Princeton, NJ.
DeMaria, R. Jr and R. Brown (2006),
Classical Literature and Its Reception: An Anthology. Blackwell,
Oxford
1
Easterling, P.E. & E. Hall (edd. 2002),
Greek and Roman Actors: Aspects of an Ancient Profession.
Cambridge
Flashar, H, (2009),
Inszenierung der Antike: das griechische Drama auf der Bühne der Neuzeit. 2nd ed.
Munich
France, P. (ed.2000),
The Oxford Guide to Literature in Translation. Oxford
Gadamer, H.-G. (1975),
Truth and Method. New York (tr. G.Barden & J. Cumming from the 2nd ed.,
1965; 1st ed. 1960)
Gillespie, S. (1998),
The Poets on the Classics. An Anthology. London & New York
Goff, B. (ed. 2005),
Classics and Colonialism. London
______ and M.Simpson (edd. 2007),
Crossroads in the Black Aegean. Oxford
Goldhill, S. (2002),
Who Needs Greek? Contests in the Cultural History of Hellenism. Cambridge
Güthenke, C. (2008),
Placing Modern Greece: The Dynamics of Romantic Hellenism, 1770-1840.
Oxford
_______ (2005), ‘Nostalgia and Neutrality: a Response to Charles Martindale’,
Classical Reception
Studies Journal 5: 238-245
Hall, E. (2004), ‘Towards a Theory of Performance Reception’
Arion 12: 51-89
_____ (2008a), ‘Putting the Class into Classical Reception’ in Hardwick and Stray (edd.): 386-398
_____ (2008b),
The Return of Ulysses: A Cultural History of Homer’s Odyssey. New York
______ (2013),
Adventures with Iphigenia in Tauris. Oxford/New York,
_____, F. Macintosh & O. Taplin (edd. 2000),
Medea in Performance, 1500-2000. Oxford
_____ F. Macintosh & A. Wrigley (edd. 2004),
Dionysus Since 69: Greek Tragedy at the Dawn of the
Third Millennium. Oxford
______ and F. Macintosh (2005),
Greek Tragedy and the British Theatre 1660-1914. Oxford
_____ and S. Harrop (edd. 2010),
Theorising Performance Reception. London
Hardwick, L. (2000),
Translating Words, Translating Cultures. London
_____ (2003),
Reception Studies (
Greece & Rome New Surveys in the Classics No.33). Oxford
_____ and C. Gillespie (edd.2007),
Classics in Post-Colonial Worlds. Oxford
_____ and C. Stray (edd. 2007),
A Companion to Classical Receptions. Blackwell, Oxford
Harloe, K. (2010), ‘Can Political Theory Provide a Model for Reception? Max Weber and Hannah
Arendt’,
Cultural Critique 74 (Winter): 17-31
Harrison, S. (ed. 2009),
Living Classics: Greece and Rome in Contemporary Poetry in English. Oxford
Haynes, K (2003).
English Literature and Ancient Lnaguages. Oxford
Heath, M. (1987), ‘Iure principem locum tenet: Euripides’
Hecuba’,
BICS 34: 40-68
Highet, G. (1949),
The Classical Tradition: Greek and Roman Influences on Western Literature.
Oxford
Holub, R. C. (1984),
Reception Theory: A critical introduction. London & New York
Hutcheon, L. (2006),
A Theory of Adaptation. New York & London
Iser, W. (1990),
The Implied Reader: Patterns of Communication from Bunyan to Beckett. Baltimore
& London
_____ (1991),
The Act of Reading: A Theory of Aesthetic Response. Baltimore & London
Jauss, H.R. (1982),
Toward an Aesthetic of Reception (tr. T.Bahti). Minneapolis
Jenkins, T.E. (2015),
Antiquity Now: The Classical World in the Contemporary American Imagination.
Cambridge
Jenkyns, R. (1980),
The Victorians and Ancient Greece. Oxford
_______ (1991),
Dignity and Decadence. London
Kallendorf, C. (ed. 2007),
A Companion to the Classical Tradition. Blackwell, Oxford
Leonard, M. (2005),
Athens in Paris. Oxford
Lianeri, A. and V. Zajko (2008),
Translation and the Classic: Identity as Change in the History of
Culture. Oxford
Macintosh, F. (1994),
Dying Acts: Death in Ancient Greek and Modern Tragic Drama. Cork
_____ (1997), ‘Tragedy in performance: nineteenth- and twentieth-century Productions’, in P.
Easterling (ed.),
The Cambridge Companion to Greek Tragedy. Cambridge: 284-324
_____ (2009).
Sophocles’ Oedipus Tyrannus. Cambridge
_____, P. Michelakis, E .Hall and O. Taplin (edd. 2005),
Agamemnon in Performance 458BC to
AD2004. Oxford
Malamud, M. (2008),
Ancient Rome and Modern America. Blackwell, Oxford.
Martindale, C. (1993),
Redeeming the Text: Latin Poetry and the Hermeneutics of Reception.
Cambridge
_______ and A.B. Taylor (edd. 2004),
Shakespeare and the Classics. Cambridge
_______ and R. F. Thomas (edd. 2006),
Classics and the Uses of Reception. Oxford
2
Mathews, T. and J. Parker (edd. 2011),
Tradition, Translation, Trauma: The Classic and the Modern.
Oxford
McConnell, J. (2013),
Black Odysseys: The Homeric Odyssey in the African Diaspora since 1939.
Oxford
Michelakis, P. (2006), ‘Reception, Performance and the Sacrifice of Iphigenia’ in Martindale and
Thomas (edd.), 216-226
Orrells, D., G.K Bhambra and T. Roynon (edd. 2011),
African Athena: New Agendas . Oxford
Porter, J.I. (2005),
Classical Pasts: The Classical Traditions of Greece and Rome. Princeton
Rood, T. (2004),
The Sea! The Sea! The Shout of the Ten Thousand in the Modern Imagination.
London
Sanders, J. (2006),
Adaptation and Appropriation. London and New York
Sculter, R. and J. Buguenet (1992),
Theories of Translation. Chicago and London
Silk, M.S., I. Gildenhard and R. Barrow (2013),
The Classical Tradition: Art, Literature, Thought.
Wiley-Blackwell
Stanford, W.B.(1954),
The Ulysses Theme: A Study in the Adaptability of a Traditional Hero. Oxford
________ (1976
) Ireland and the Classical Tradition. Dublin
Stray, C.A. (1998),
Classics Transformed: Schools and Universities and Society in England 1830-
1960. Oxford
Venuti, L. (ed. 2004).
The Translation Studies Reader (2nd ed.). New York & London
Vernant, J.-P. (1988), ‘Oedipus with the Complex’ in J.-P.Vernant & P. Vidal-Naquet,
Myth and
Tragedy in Ancient Greece (tr. Janet Lloyd). New York: 85-111
Vidal-Naquet, P. (1988), ‘Oedipus in Vicenza and in Paris: Two Turning Points in the History of
Oedipus’ in J.-P.Vernant & P. Vidal-Naquet,
Myth and Tragedy in Ancient Greece (tr. Janet
Lloyd). New York: 361-80
Wyke, M. (1997).
Projecting the past: ancient Rome, cinema, and history. New York
Standard Reference Works:
Avery, E.L., C.B.Hogan, A.H.Scouten, G.W.Stone & W.Van Lennep (edd.) (1965-8)
The London
Stage, 1660-1800: A Calendar of Plays and Afterpieces…Carbondale, Illinois
Der Neue Pauly: Rezeptions- und Wissenschaftsgeschichte, Supplemente, Band 4. Stuttgart and
Weimar 2005.
DNB (1908-9)
[=Dictionary of National Biography] 2nd Ed. 22 Vols. London
Enciclopedia dello spettacolo (1954-62). 9 Vols. Rome. Supplemented by Vol.10,
Cinema, Teatro,
Balleto (Rome 1982)
New Grove Dictionary of Music and Musicians (2001), 2nd Ed., ed. Stanley Sadie, 29 vols London [7th
ed. Counting from the original
Dictionary = available as Grove Music Online]
Allardyce Nicholl B. (1925),
British Drama. Fourth edition. London / Toronto / Bombay / Sydney
-----
(1952-9),
A History of English Drama 1660-1900. Cambridge
ODNB [=Oxford Dictionary of National Biography]. 60 Vols. (Oxford 2004) Reid, Jane Davidson (1993),
Oxford Guide to Classical Mythology in the Arts. 2 Vols. New York &
Oxford
Wearing, J.P. (1991),
The London Stage, 1930-1939: a calendar of plays and players. London
Online Resources:
APGRD Database, University of Oxford [http://www.apgrd.ox.ac.uk/database]
Open University project ‘The Reception of the Texts and Images of Ancient Greece in late twentieth-
century drama and poetry in English’ http://www2.open.ac.uk/ClassicalStudies/GreekPlays/
International Journal of the Classical Tradition : http://www.bu.edu/ict/about/index.html
Classical Receptions Journal 5, Issue 2, June 2013 – Special Issue ‘Redeeming the text – 20 years on’
Arion journal : http://www.bu.edu/arion/
Classical Receptions Journal (http://crj.oxfordjournals.org/)
3
MSt Theory and Methods of Reception
Michaelmas Term 2019
(Thursdays, 2-3.30pm, APGRD Study Room, Classics Centre)
Week 1 -
Classical Reception and/or the Classical Tradition: from periphery to
centre
Week 2 -
Formalism, New Criticism and Iser’s Reader response theory Week 3 -
Marxist Literary theory and Jauss’s Rezeptionstheorie Week 4 -
Anglophone Classical Reception theory (incl. Classical Performance
Reception) – Martindale, Hardwick, Porter, Burrow, Hall and Harrop
Week 5 – NO MEETING THIS WEEK Week 6 - Classical Reception and/or Cultural Studies – the ‘democratic turn’;
classics and class – Malamud, Hardwick, Hall, Wyke
Week 7 -
Classical Reception, Comparative Literature and World Literatures –
Bassnett, Damrosch
Week 8 -
History of Scholarship
Week 0 - Hilary Term -
Classical Reception, Translation Studies, Adaptation
Theory – the ‘creative turn’; appropriation/adaptation – Venuti, Hutcheon,
Sanders
Note on the Course: Weeks 2-3 explore the genealogy of Classical Reception
Studies; Weeks 4-5 focus on recent theoretical discussions in Classical Reception
generally. Weeks 6-8 examine the various ways in which methods employed in
Classical Reception Studies relate to those within other well-established disciplines
within the academy, including Classics itself.
Recommended Reading:
Bailey, P. (1994) ' Conspiracies of Meaning: Music-Hall and the Knowingness of Popular Culture'
Past
& Present: 138-170
Bassnett. S. (1991),
Translation Studies (rev. ed.). London
_____ (1993),
Comparative Literature: A Critical Introduction. Blackwell, Oxford
_____ and A. Lefevre (edd. 1998),
Constructing Cultures. London
Bennett, S. (1990),
Theatre Audiences: A Theory of Production and Reception. New York
Bolgar, R.R. (1954),
The Classical Heritage and Its Beneficiaries. Cambridge
Budelmann, F. (2004), ‘Greek tragedies in West African Adaptations’
PCPhS 50: 1-28 (repr. in B.
Goff (ed. 2005),
Classics and Colonialism. London)
_____ and J. Haubold (2008), ‘Reception and Tradition ‘ in Hardwick and Stray (edd.): 13-25
Butler, S. (ed. 2016),
Deep Classics: Rethinking Classical Reception. London
Clarke, G.W. (ed. 1989),
Rediscovering Hellenism: The Hellenic Inheritance and the English
Imagination. Cambridge
Clarke, M.L (1945),
Greek Studies in England 1700-1830. Cambridge
Damrosch, D. (2003),
What is World Literature? Princeton, NJ.
1
DeMaria, R. Jr and R. Brown (2006),
Classical Literature and Its Reception: An Anthology. Blackwell,
Oxford
Easterling, P.E. & E. Hall (edd. 2002),
Greek and Roman Actors: Aspects of an Ancient Profession.
Cambridge
Flashar, H, (2009),
Inszenierung der Antike: das griechische Drama auf der Bühne der Neuzeit. 2nd ed.
Munich
France, P. (ed.2000),
The Oxford Guide to Literature in Translation. Oxford
Gadamer, H.-G. (1975),
Truth and Method. New York (tr. G.Barden & J. Cumming from the 2nd ed.,
1965; 1st ed. 1960)
Gillespie, S. (1998),
The Poets on the Classics. An Anthology. London & New York
Goff, B. (ed. 2005),
Classics and Colonialism. London
______ and M.Simpson (edd. 2007),
Crossroads in the Black Aegean. Oxford
Goldhill, S. (2002),
Who Needs Greek? Contests in the Cultural History of Hellenism. Cambridge
Güthenke, C. (2008),
Placing Modern Greece: The Dynamics of Romantic Hellenism, 1770-1840.
Oxford
_______ (2005), ‘Nostalgia and Neutrality: a Response to Charles Martindale’,
Classical Reception
Studies Journal 5: 238-245
Hall, E. (2004), ‘Towards a Theory of Performance Reception’
Arion 12: 51-89
_____ (2008a), ‘Putting the Class into Classical Reception’ in Hardwick and Stray (edd.): 386-398
_____ (2008b),
The Return of Ulysses: A Cultural History of Homer’s Odyssey. New York
______ (2013),
Adventures with Iphigenia in Tauris. Oxford/New York,
_____, F. Macintosh & O. Taplin (edd. 2000),
Medea in Performance, 1500-2000. Oxford
_____ F. Macintosh & A. Wrigley (edd. 2004),
Dionysus Since 69: Greek Tragedy at the Dawn of the
Third Millennium. Oxford
______ and F. Macintosh (2005),
Greek Tragedy and the British Theatre 1660-1914. Oxford
_____ and S. Harrop (edd. 2010),
Theorising Performance Reception. London
Hardwick, L. (2000),
Translating Words, Translating Cultures. London
_____ (2003),
Reception Studies (
Greece & Rome New Surveys in the Classics No.33). Oxford
_____ and C. Gillespie (edd.2007),
Classics in Post-Colonial Worlds. Oxford
_____ and C. Stray (edd. 2007),
A Companion to Classical Receptions. Blackwell, Oxford
Harloe, K. (2010), ‘Can Political Theory Provide a Model for Reception? Max Weber and Hannah
Arendt’,
Cultural Critique 74 (Winter): 17-31
Harrison, S. (ed. 2009),
Living Classics: Greece and Rome in Contemporary Poetry in English. Oxford
Haynes, K (2003).
English Literature and Ancient Lnaguages. Oxford
Heath, M. (1987), ‘Iure principem locum tenet: Euripides’
Hecuba’,
BICS 34: 40-68
Highet, G. (1949),
The Classical Tradition: Greek and Roman Influences on Western Literature.
Oxford
Holub, R. C. (1984),
Reception Theory: A critical introduction. London & New York
Hutcheon, L. (2006),
A Theory of Adaptation. New York & London
Iser, W. (1990),
The Implied Reader: Patterns of Communication from Bunyan to Beckett. Baltimore
& London
_____ (1991),
The Act of Reading: A Theory of Aesthetic Response. Baltimore & London
Jauss, H.R. (1982),
Toward an Aesthetic of Reception (tr. T.Bahti). Minneapolis
Jenkins, T.E. (2015),
Antiquity Now: The Classical World in the Contemporary American Imagination.
Cambridge
Jenkyns, R. (1980),
The Victorians and Ancient Greece. Oxford
_______ (1991),
Dignity and Decadence. London
Kallendorf, C. (ed. 2007),
A Companion to the Classical Tradition. Blackwell, Oxford
Leonard, M. (2005),
Athens in Paris. Oxford
Lianeri, A. and V. Zajko (2008),
Translation and the Classic: Identity as Change in the History of
Culture. Oxford
Macintosh, F. (1994),
Dying Acts: Death in Ancient Greek and Modern Tragic Drama. Cork
_____ (1997), ‘Tragedy in performance: nineteenth- and twentieth-century Productions’, in P.
Easterling (ed.),
The Cambridge Companion to Greek Tragedy. Cambridge: 284-324
_____ (2009).
Sophocles’ Oedipus Tyrannus. Cambridge
_____, P. Michelakis, E .Hall and O. Taplin (edd. 2005),
Agamemnon in Performance 458BC to
AD2004. Oxford
Malamud, M. (2008),
Ancient Rome and Modern America. Blackwell, Oxford.
Martindale, C. (1993),
Redeeming the Text: Latin Poetry and the Hermeneutics of Reception.
Cambridge
2
_______ and A.B. Taylor (edd. 2004),
Shakespeare and the Classics. Cambridge
_______ and R. F. Thomas (edd. 2006),
Classics and the Uses of Reception. Oxford
Mathews, T. and J. Parker (edd. 2011),
Tradition, Translation, Trauma: The Classic and the Modern.
Oxford
McConnell, J. (2013),
Black Odysseys: The Homeric Odyssey in the African Diaspora since 1939.
Oxford
Michelakis, P. (2006), ‘Reception, Performance and the Sacrifice of Iphigenia’ in Martindale and
Thomas (edd.), 216-226
Orrells, D., G.K Bhambra and T. Roynon (edd. 2011),
African Athena: New Agendas . Oxford
Porter, J.I. (2005),
Classical Pasts: The Classical Traditions of Greece and Rome. Princeton
Rood, T. (2004),
The Sea! The Sea! The Shout of the Ten Thousand in the Modern Imagination.
London
Sanders, J. (2006),
Adaptation and Appropriation. London and New York
Sculter, R. and J. Buguenet (1992),
Theories of Translation. Chicago and London
Silk, M.S., I. Gildenhard and R. Barrow (2013),
The Classical Tradition: Art, Literature, Thought.
Wiley-Blackwell
Stanford, W.B.(1954),
The Ulysses Theme: A Study in the Adaptability of a Traditional Hero. Oxford
________ (1976
) Ireland and the Classical Tradition. Dublin
Stray, C.A. (1998),
Classics Transformed: Schools and Universities and Society in England 1830-
1960. Oxford
Venuti, L. (ed. 2004).
The Translation Studies Reader (2nd ed.). New York & London
Vernant, J.-P. (1988), ‘Oedipus with the Complex’ in J.-P.Vernant & P. Vidal-Naquet,
Myth and
Tragedy in Ancient Greece (tr. Janet Lloyd). New York: 85-111
Vidal-Naquet, P. (1988), ‘Oedipus in Vicenza and in Paris: Two Turning Points in the History of
Oedipus’ in J.-P.Vernant & P. Vidal-Naquet,
Myth and Tragedy in Ancient Greece (tr. Janet
Lloyd). New York: 361-80
Wyke, M. (1997).
Projecting the past: ancient Rome, cinema, and history. New York
Standard Reference Works:
Avery, E.L., C.B.Hogan, A.H.Scouten, G.W.Stone & W.Van Lennep (edd.) (1965-8)
The London
Stage, 1660-1800: A Calendar of Plays and Afterpieces…Carbondale, Illinois
Der Neue Pauly: Rezeptions- und Wissenschaftsgeschichte, Supplemente, Band 4. Stuttgart and
Weimar 2005.
DNB (1908-9)
[=Dictionary of National Biography] 2nd Ed. 22 Vols. London
Enciclopedia dello spettacolo (1954-62). 9 Vols. Rome. Supplemented by Vol.10,
Cinema, Teatro,
Balleto (Rome 1982)
New Grove Dictionary of Music and Musicians (2001), 2nd Ed., ed. Stanley Sadie, 29 vols London [7th
ed. Counting from the original
Dictionary = available as Grove Music Online]
Allardyce Nicholl B. (1925),
British Drama. Fourth edition. London / Toronto / Bombay / Sydney
-----
(1952-9),
A History of English Drama 1660-1900. Cambridge
ODNB [=Oxford Dictionary of National Biography]. 60 Vols. (Oxford 2004) Reid, Jane Davidson (1993),
Oxford Guide to Classical Mythology in the Arts. 2 Vols. New York &
Oxford
Wearing, J.P. (1991),
The London Stage, 1930-1939: a calendar of plays and players. London
Online Resources:
APGRD Database, University of Oxford [http://www.apgrd.ox.ac.uk/database]
Open University project ‘The Reception of the Texts and Images of Ancient Greece in late twentieth-
century drama and poetry in English’ http://www2.open.ac.uk/ClassicalStudies/GreekPlays/
International Journal of the Classical Tradition : http://www.bu.edu/ict/about/index.html
Classical Receptions Journal 5, Issue 2, June 2013 – Special Issue ‘Redeeming the text – 20 years on’
Arion journal : http://www.bu.edu/arion/
Classical Receptions Journal (http://crj.oxfordjournals.org/)
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MSt Theory and Methods of Reception
Michaelmas Term 2020
(Thursdays, 2-4pm, Online via TEAMS)
Week 1 –
Introductory – Value/Time/Responsibility
Week 2 –
Reader – Agency/Martindale
Week 3 –
Power and Hierarchies – class/cultural studies
Week 4 –
Discipline/God/Situatedness
Week 5 – World – postcolonial and World Literature
Week 6 - Workshop – discussion of participants’ research areas
Week 7 –
Posthumanism/materialism
Week 8 –
Untimeliness/Time – Jauss/queer studies
Week 0 - Hilary Term –
follow up meeting – topic tbc
Note on the Course: This year we will be using
Postclassicisms by the
Postclassicisms Collective (Chicago 2020) as the starting point for many discussions.
A copy will be sent to you, along with copies of any further recommended reading.
Each session will begin with a short presentation followed by a mixture of break-out/
small group and plenary discussion.
Recommended Reading:
Atack, C. (2020), ‘Plato’s queer time: dialogic moments in the life and death of
Socrates’, In Special Issue: Anachronisms and Antiquity, edd. T. Rood and M.
Umachandra,
Classical Receptions Journal 12
Billings, J., F. Budelmann and F. Macintosh (edd. 2013),
Choruses, Ancient and
Modern. Oxford
Bolgar, R.R. (1954),
The Classical Heritage and Its Beneficiaries. Cambridge
Butler, S. (ed. 2016),
Deep Classics: Rethinking Classical Reception. London
_______ (2019), ‘The youth of antiquity: reception, homosexuality, alterity’,
Classical Receptions Journal 11: 373-406
Clarke, G.W. (ed. 1989),
Rediscovering Hellenism: The Hellenic Inheritance and the
English Imagination. Cambridge
Clarke, M.L (1945),
Greek Studies in England 1700-1830. Cambridge
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DeMaria, R. Jr and R. Brown (2006),
Classical Literature and Its Reception: An
Anthology. Blackwell, Oxford
Easterling, P.E. & E. Hall (edd. 2002),
Greek and Roman Actors: Aspects of an
Ancient Profession. Cambridge
Flashar, H, (1991),
Inszenierung der Antike: das griechische Drama auf der Bühne
der Neuzeit. Munich
Gadamer, H.-G. (1975)
Truth and Method. New York (tr. G.Barden & J. Cumming
from the 2nd ed., 1965; 1st ed. 1960)
Gillespie, S. (1998),
The Poets on the Classics. An Anthology. London & New York
B.Goff (ed.),
Classics and Colonialism (London, 2005)
B.Goff and M.Simpson (eds.),
Crossroads in the Black Aegean (Oxford, 2007)
Güthenke, C. (2008),
Placing Modern Greece: The Dynamics of Romantic Hellenism,
1770-1840. Oxford
_______ (2005), ‘Nostalgia and Neutrality: a Response to Charles Martindale’,
Classical Reception Studies Journal 5: 238-245
________ (2019), ‘Introduction: ‘A mirror does not develop…’: The History of
Classical Scholarship as Reception, in C. Stray,
Classics in Britain:
Scholarship, Education, and Publishing 1800-2000. Oxford, 1-9
______ and B. Holmes (2018), ‘Hyperinclusivity, Hypercanonicity, and the Future of
the Field’, in M. Formisano and C.S. Kraus (edd.),
Canonicity, Marginality,
Passion. Oxford, 57-73
Hall, E. (2004), ‘Towards a Theory of Performance Reception’
Arion 12: 51-89
________, F.Macintosh & O. Taplin (edd. 2000),
Medea in Performance, 1500-2000.
Oxford
________, F.Macintosh & A.Wrigley (edd. 2004),
Dionysus Since 69: Greek Tragedy
at the Dawn of the Third Millennium. Oxford
________ and F.Macintosh (2005),
Greek Tragedy and the British Theatre 1660-
1914. Oxford
_____ and S. Harrop (edd. 2010
), Theorising Performance: Greek Drama, Cultural
History and Critical Practice. London
_______ (2013),
Adventures with Iphigenia in Tauris. Oxford
Hardwick, L. (2000),
Translating Words, Translating Cultures. London
_________ (2003),
Reception Studies (
Greece & Rome New Surveys in the Classics
No.33). Oxford
________ and C. Stray (edd. 2007),
Blackwell Companion to Classical Receptions.
Oxford
_______ (2011), ‘Fuzzy Connections: Classical Texts and Modern Poetry in English’
in J. Parker and T. Matthews (edd),
Tradition, Translation, Trauma: The
Classics and the Modern. Oxford, 39-60
Heath, M. (1987), ‘Iure principem locum tenet: Euripides’
Hecuba’,
BICS 34: 40-68
Highet, G. (1949),
The Classical Tradition: Greek and Roman Influences on Western
Literature. Oxford
Holmes, B. and K. Marta (edd. 2017),
Liquid Antiquity (DESTE Foundation, Athens)
Iser, W. (1978),
The Act of Reading: A Theory of Aesthetic Response. Baltimore &
London
Jauss, H.R. (1982),
Toward an Aesthetic of Reception (tr. T.Bahti). Minneapolis
Jenkyns, R. (1980),
The Victorians and Ancient Greece. Oxford
________ (1991),
Dignity and Decadence. London
Kallendorf, C.W. (ed. 2007),
Blackwell Companion to the Classical Tradition. Oxford
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Macintosh, F. (1994),
Dying Acts: Death in Ancient Greek and Modern Tragic
Drama. Cork
________
(1997), ‘Tragedy in performance: nineteenth- and twentieth-century
Productions’, in P.Easterling (ed.),
The Cambridge Companion to Greek
Tragedy. Cambridge: 284-324
________
(2001), ‘Alcestis in Britain’,
Cahiers du GITA 14: 281-308
________
(2009),
Sophocles’ Oedipus Tyrannus. Cambridge
________ P.Michelakis, E.Hall and O.Taplin (edd. 2005),
Agamemnon in
Performance 458BC to AD2004. Oxford
_______ (ed. 2010),
The Ancient Dancer in the Modern World: Responses to Greek
and Roman Dance. Oxford
Martindale, C. (1993),
Redeeming the Text: Latin Poetry and the Hermeneutics of
Reception. Cambridge
_______ and A.B. Taylor (edd. 2004),
Shakespeare and the Classics. Cambridge
_______ and R. F. Thomas (edd. 2006),
Classics and the Uses of Reception. Oxford
Mathews, T. and J. Parker (edd. 2011),
Tradition, Translation, Trauma: The Classic
and the Modern. Oxford
Matzner, S. (2016), ‘Queer Unhistoricism: Scholars, Metalepsis, and Interventions of
the Unruly Past’ in Butler (ed.),
Deep Classics, 179-202
McConnell, J. (2013),
Black Odysseys: The Homeric Odyssey in the African Diaspora
since 1939. Oxford
Michelakis, Pantelis (2006), ‘Reception, Performance and the Sacrifice of Iphigenia’
in Martindale and Thomas (edd.), Oxford: 216-226
Orrells, D., G.K Bhambra and T. Roynon (edd. 2011),
African Athena: New Agendas.
Oxford
Postclassicisms Collective (2019),
Postclassicisms. Chicago
Rankine, P. (2019), ‘The Classics, Race, and Community-Engaged or Public
Scholarship’,
American Journal of Philology 140: 345-359
Rood, T., C. Atack and Tom Phillips (2019),
Anachronism and Antiquity. London
Rood, T and M. Umachandran (edd. 2020), Special Issue: Anachronism and
Antiquity,
Classical Receptions Journal 12
Silk, M.S., I. Gildenhard and R. Barrow (2013),
The Classical Tradition: Art,
Literature, Thought. Wiley-Blackwell
Silverblank, H. and M. Ward, ‘Why does classical reception need disability studies?’
(forthcoming 2020)
Classical Reception Studies
Sourvinou-Inwood, C. (1989), ‘Assumptions and the Cretation of Meaning: Reading
Sophocles’
Antigone’,
JHS 109: 134-148
Stanford, W.B.(1954),
The Ulysses Theme: A Study in the Adaptability of a
Traditional Hero. Oxford
________ (1976
) Ireland and the Classical Tradition. Dublin
Stray, C.A. (1998),
Classics Transformed: Schools and Universities and Society in
England 1830-1960. Oxford
_______ (ed.) (2003),
The Classical Association: The First Century 1903-2003.
Supplement to
Greece and Rome. Oxford
Vernant, J.-P. (1988), ‘Oedipus with the Complex’ in J.-P.Vernant & P. Vidal-
Naquet,
Myth and Tragedy in Ancient Greece (tr. Janet Lloyd). New York: 85-
111
Vidal-Naquet, P. (1988), ‘Oedipus in Vicenza and in Paris: Two Turning Points in the
History of Oedipus’ in J.-P.Vernant & P. Vidal-Naquet,
Myth and Tragedy in
Ancient Greece (tr. Janet Lloyd). New York: 361-80
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Ward, M. (2019), ‘Assemblage theory and the uses of classical reception: the case of
Aristotle Knowsley’s Oedipus’, Classical Receptions Journal 11: 508-523
Wingrove, E. (2016), ‘Political displacement at the point of reception’, Classical
Receptions Journal 8: 114-132
Standard Reference Work:
Reid, Jane Davidson (1993),
Oxford Guide to Classical Mythology in the Arts. 2 Vols.
New York & Oxford
Online Resources/Journals:
APGRD Database, University of Oxford [http://www.apgrd.ox.ac.uk/database]
Classical Receptions Journal 4, Issue 2, November 2012 –
Translation,
transgression, transformation: contemporary women authors and classical reception:
Guest editors, F. Cox and E. Theodorakopoulos
Classical Receptions Journal 5, Issue 2, June 2013 – Special Issue ‘Redeeming the
text – 20 years on’
http://crj.oxfordjournals.org/content/current
Open University project ‘The Reception of the Texts and Images of Ancient Greece in
late twentieth-century drama and poetry in English’
http://www2.open.ac.uk/ClassicalStudies/GreekPlays/
International Journal of the Classical Tradition :
http://www.bu.edu/ict/about/index.html
Arion journal : http://www.bu.edu/arion/
Classical Reception Studies Network (CRSN)
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