A Handbook to Classical Reception in Eastern and Central Europe

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Zara Martirosova Torlone, Dana LaCourse Munteanu, Dorota Dutsch
John Wiley & Sons, Apr 17, 2017 - History - 606 pages
Note -- References -- Chapter 31 The Ancient Sources of Njegoš's Poetics -- Introduction -- Historical Background -- Education and Early Oeuvre -- Later Work -- The Mountain Wreath -- Last Writings -- References -- Part VIII Bulgaria -- Chapter 32 Classical Reception in Bulgaria An Introduction -- Historical Context Issues -- Classical Education in Bulgaria: A Broader Context of Classical Reception -- Notes -- References -- Chapter 33 Bulgarian Lands in Antiquity: A Melting Pot of Thracian, Greek, and Roman Culture -- At the Crossroads of the Balkans -- The Sequel of Antiquity: The Byzantine Empire and the First Bulgarian State -- Science versus Ideologemes -- Notes -- References -- Chapter 34 In the Labyrinth of Allusions: Ancient Figures in Bulgarian Prose Fiction -- What Kind of Hero is the Bulgarian Odysseus? -- Antiquity as a Setting: Historical Novels and Ancient Enigmas -- Antiquity of Our Own -- Straying in the Labyrinth -- Notes -- References -- Chapter 35 "Bulgarian" Orpheus between the National and the Foreign, between Antiquity and Postmodernism -- Orpheus in Bulgaria: Foreign and/or Native Hero -- Orpheus: Borderline Hero of Literary Postmodernism -- Orpheus: Devoted Lover or Traitor and Misogynist -- Orpheus: Thracian Poet and Christian God -- Conclusion -- Notes -- References -- Chapter 36 Staging of Ancient Tragedies in Bulgaria and Their Influence on the Process of Translation and Creative Reception -- The Role of Theater Translations and Staging in the Shaping of Modern Bulgarian Culture -- Specificity of Translating Drama -- Early Translations of Ancient Drama in Bulgaria -- Alexander Balabanov and the Influence of the Staging of Medea Based on His Translation -- Medea by L. Groys -- A Postmodern Medea -- Translations and Staging of the Main Texts of the Theban Cycle in Bulgaria -- A Contemporary Trilogy -- Conclusion -- Notes
 

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Contents

Croatia 13
15
The Early Modern Tales of Two Ancient Cities
21
Croatian NeoLatin Literature and Its Uses
35
The Swan Song of the Latin Homer
57
Slovenia
67
Images from Slovenian Dramatic and Theatrical
99
Czech Republic
113
Classical Antiquity in Czech Literature between the National Revival
121
BosniaHerzegovina Serbia and Montenegro
327
Classical Antiquity in the Franciscan Historiography
336
Innovative Impact of the Classical Tradition
347
The Ancient Sources of Njegošs Poetics
373
Bulgaria
387
A Melting Pot of Thracian Greek
396
Ancient Figures in Bulgarian
411
Bulgarian Orpheus between the National and the Foreign
423

The Art and Architecture
133
Classical Drama
146
Poland
159
Two Essays on Classical Reception in Poland
190
Parallels between Greece and Poland in Juliusz Słowackis Oeuvre
207
Hungary
223
Classical Reception in SixteenthCentury Hungarian Drama
233
Reading Horace as a Political Attitude
245
The Sculptor István Ferenczy
260
Romania
277
Cosbuc as Translator and Poet
287
Noicas Becoming within Being and Menos Paradox
300
Former Paths
312
Staging of Ancient Tragedies in Bulgaria and Their Influence
437
Russia
449
The Perception of Classical Schools
457
Homer in Russia
469
Milestones of Identity
480
Archaeology Museums
493
Armenia and Georgia
507
Medieval GreekArmenian Literary Relations
516
An Introduction
541
Greek Tragedy on the Georgian Stage in the Twentieth Century
548
Index
560
Copyright

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About the author (2017)

Zara Martirosova Torlone is Professor in the Department of Classics at Miami University, USA. She is the author of Russia and the Classics (2009) and Vergil in Russia (2015), editor of Classical Reception in Eastern Europe (a special issue of Classical Receptions Journal), and co-editor of Insiders and Outsiders in Russian Cinema (with Stephen Norris, 2008). She has written numerous articles concerning classical literature and its reception, especially in Russian culture.

Dana LaCourse Munteanu is Associate Professor in the Department of Greek and Latin at Ohio State University, Newark, USA. She is the author of Tragic Pathos: Pity and Fear in Greek Philosophy and Tragedy (2012) and the editor of Emotion, Genre and Gender in Classical Antiquity (2011). She has written several articles on Greek philosophy, tragedy and the reception.

Dorota Dutsch is Associate Professor of Classics at the University of California, Santa Barbara, USA. She is the author of Feminine Discourse in Roman Comedy: On Echoes and Voices (2008), and co‐editor of Women in the Drama of the Roman Republic (with David Konstan and Sharon James, 2015), Ancient Obscenities (with Ann Suter, 2015), and The Fall of the City in the Mediterranean (with Ann Suter and Mary Bachvarova, 2016).

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