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By Thomas E. Jenkins

Written in a full of life and available sort, Antiquity Now opens our gaze to the myriad makes use of and abuses of classical antiquity in modern fiction, movie, comics, drama, tv - or even net boards. With each bankruptcy targeting a unique point of classical reception - together with sexuality, politics, gender and ethnicity - this e-book explores the ideological motivations in the back of modern American allusions to the classical global. eventually, this kaleidoscope of receptions - from demands marriage equality to examinations of gang violence to passionate pleas for peace (or struggle) - finds a 'classical antiquity' that reconfigures itself day-by-day, as modernity explains itself to itself via ever-expanding applied sciences and media. Antiquity Now hence examines the often-surprising redeployment of the artwork and literature of the traditional international, a geography charged with especial worth within the modern mind's eye

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54 So, on the surface, there don’t seem to be any distinctive, contemporary social forces at play here. Yet an interview with The Chronicle of Higher Education reveals the influence of gender on the production of this particular Aeneid. As a graduate student, Ruden was warned against a dissertation on Ovid because too many women were working on the Roman poet’s love poetry; so Ruden chose the famously potty-mouthed Petronius instead. Ruden complains, in fact, that too many female scholars still work on ancient love poetry; they are “talking and writing endlessly about ‘gender’ in prescribed terms.

These unassuming, poetic lines are radical in their implications; one, that humans are ontologically flawed and two, that desire is biologically determined, that is to say, “orientation” (as a modern concept) is produced by nature, not nurture. Though immutable, not all orientations, according to Aristophanes, are of equal value. Those who lust after the opposite sex may well become lechers (both male and female, 191D); women who run after women become simply lesbians (another instance in which Aristophanes seems to have comparatively little to say about this crucial prong of sexual orientation).

It’s little surprise that Miller’s sidereal Greece mostly revolves around Miller: during a trip to Eleusis, an historically sacred spot outside of Athens, he opines: 61 62 63 It was with some hand-wringing that the adjective “American” found its way into the title of this study, partly because I didn’t, and don’t, wish to give the impression that every example bears specifically on classical reception in the United States. Clearly, certain authors—such as Ireland’s Seamus Heaney or Canada’s Margaret Atwood—cannot be easily subsumed under the heading of American, even if their work comments (sometimes pointedly) on the United States’ policies or influence.

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