Classical reception

By Justin Lorenzo Biggi | August 30, 2019

In March of 2019, Jordan Peele's Us was released in theaters. Much like his previous project, Get Out (2017), Us took the horror world by storm. Unlike Get Out, whose direct references to U.S. racism were the foundation of the plot, Peele left Us intentionally vague; allowing for a flurry of online theories to be born as to what his intended meaning may have been.

By Yoandy Cabrera Ortega | June 14, 2019

This month, we spotlight the graduate research of Dr. Yoandy Cabrera Ortega, who recently defended his dissertation on the portrayal of human emotions in ancient Greek myths and in modern literature from Spain and Latin America. 

My dissertation was an interdisciplinary one, intertwining different approaches and fields such as classical reception, queer studies, affect theory, and Hispanic studies.

By Sarah E. Bond | December 7, 2018

Classical reception comes in many forms—including beer. Just ask Colin MacCormack, a Classics graduate student at the University of Texas-Austin. For the past few years, he has been brewing his own beer with classically inspired names and labels that he makes himself. He often serves these brews at annual lectures or at department functions.

I can attest firsthand to the fact that MacCormack’s beer is delicious, but what stuck with me longer than either his hoppy Rye Pale Ale or his Ale Caesar! Honey-Sage IPA was the time he put into his beer labels. It got me thinking not only about the way that the ancient world is reshaped in popular culture, but what role Classicists can and should have in shaping that reformulation.

By Christopher Trinacty | September 7, 2018

Classical reception is evident in pop-culture media like films and TV, but it is also a recognizable part of music. I began to ponder this recently after hearing BBC Radio 6 ask the question “What song should be on a playlist inspired by ancient history and why?” The following post details some songs that I’ve enjoyed over the years that feature references to ancient history and the ancient world more generally.

By Serena S Witzke | November 27, 2017

Co-authored with T.H.M Gellar-Goad.

By Angeline Chiu | September 11, 2017

This article was originally published in Amphora 11.1. It has been edited slightly to adhere to current SCS blog conventions.

By Kristopher Fletcher | June 12, 2017

This article was originally published in Amphora 12.1. It has been edited slightly to adhere to current SCS blog conventions.

It is a great time to be a fan of both the classical world and heavy metal music: the two have never overlapped to the extent that they do right now. Consider, for example, the fact that in 2013 not one but two Italian metal bands, Heimdall and Stormlord, released concept albums based on Vergil’s Aeneid.

By Victoria Emma Pagán | May 8, 2017

This article was originally published in Amphora (12.1). It has been edited slightly to adhere to current SCS blog conventions.

By Tom Kohn | April 10, 2017

This article was originally published in Amphora 12.1. It has been edited slightly to adhere to current SCS blog conventions.

By William Scott Duffy | April 3, 2017

Milman Parry’s theory that the Homeric poems are the result of oral-formulaic composition, is central to the study of ancient epic. It can also be difficult to explain to students or non-Classicist friends, since the Iliad and Odyssey are now consumed primarily as books, not oral poems. Most oral traditions are at the tail end of their existence and most members of contemporary, literate societies have little experience with them. There is little to be done about the first of these issues, but we can address the second. While we may not have access to a significant body of oral composition, there are art forms created in the moment of performance that can be quite helpful in explaining how the Homeric epics were created and consumed by audiences. The most notable of these is professional wrestling.

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