The controversy between the Futurists and the classicists over the Greek theatre of Syracuse remains largely overlooked within the scholarship concerned with the relationship between Futurism and Fascism. The Futurist movement launched a polemic against the staging of Aeschylus’ Libation Bearers in 1921, counterposing Greek tragedy to new forms of drama drawing on Futurist performance aesthetics and Sicilian popular theatre which, according to the Futurists, could express the spirit of the modern age. In a similar vein, the manifesto that F. T. Marinetti addressed to the Fascist government in 1923 advocated for the staging of modern Sicilian plays in the theatre of Syracuse. Contrary to Futurism, Italian Fascism turned to Greek models in creating new forms of popular theatre. Mussolini’s state supported the production of ancient drama throughout the ventennio, as evidenced by the consolidation of the Istituto Nazionale del Dramma Antico (INDA) in 1925. The theatre of Syracuse should be viewed as a field of antagonism between the different versions of modernism represented by Futurism and Fascism. By examining the convergences and divergences of Futurist and Fascist visions of theatrical renewal, this article highlights not only the Hellenic character of Fascism’s modernism but also the role of Fascism in transforming classical traditions.
在研究未来主义与法西斯主义关系的学术研究中，未来主义者与古典主义之间关于锡拉库扎希腊戏剧的争论在很大程度上仍被忽视。未来主义运动于 1921 年发起了一场反对上演埃斯库罗斯的《献酒者》的论战，将希腊悲剧与借鉴未来主义表演美学和西西里大众戏剧的新戏剧形式对立起来。同样，F. T. 马里内蒂在 1923 年写给法西斯政府的宣言中也主张在锡拉库扎剧院上演西西里现代戏剧。与未来主义相反，意大利法西斯主义转向希腊模式，以创造新形式的大众戏剧。墨索里尼的国家在整个文森特时期都支持古代戏剧的创作，1925 年国家古代戏剧研究所（INDA）的合并就是明证。锡拉库扎的戏剧应被视为未来主义和法西斯主义所代表的不同现代主义之间的对立领域。通过研究未来主义和法西斯主义在戏剧复兴方面的异同，本文不仅强调了法西斯主义现代主义的希腊特色，还强调了法西斯主义在改造古典传统方面的作用。
{"title":"Greek theatre, electric lights, and the plumes of locomotives: the quarrel between the Futurists and the Classicists and the Hellenic modernism of Fascism","authors":"Eleftheria Ioannidou","doi":"10.1093/crj/clad028","DOIUrl":"https://doi.org/10.1093/crj/clad028","url":null,"abstract":"\u0000 The controversy between the Futurists and the classicists over the Greek theatre of Syracuse remains largely overlooked within the scholarship concerned with the relationship between Futurism and Fascism. The Futurist movement launched a polemic against the staging of Aeschylus’ Libation Bearers in 1921, counterposing Greek tragedy to new forms of drama drawing on Futurist performance aesthetics and Sicilian popular theatre which, according to the Futurists, could express the spirit of the modern age. In a similar vein, the manifesto that F. T. Marinetti addressed to the Fascist government in 1923 advocated for the staging of modern Sicilian plays in the theatre of Syracuse. Contrary to Futurism, Italian Fascism turned to Greek models in creating new forms of popular theatre. Mussolini’s state supported the production of ancient drama throughout the ventennio, as evidenced by the consolidation of the Istituto Nazionale del Dramma Antico (INDA) in 1925. The theatre of Syracuse should be viewed as a field of antagonism between the different versions of modernism represented by Futurism and Fascism. By examining the convergences and divergences of Futurist and Fascist visions of theatrical renewal, this article highlights not only the Hellenic character of Fascism’s modernism but also the role of Fascism in transforming classical traditions.","PeriodicalId":42730,"journal":{"name":"Classical Receptions Journal","volume":"27 12","pages":""},"PeriodicalIF":0.2,"publicationDate":"2024-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139456595","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Giovanna Di Martino, Eleftheria Ioannidou, Sara Troiani
The introduction to the special issue explores the central place of Greek theatre within the culture of Italian Fascism. Building on scholarship from the so-called cultural turn in the study of fascism, which variously identified fascism with a form of modernism, it demonstrates that a dialogue between modernism and classicism was fully at work in the performances of ancient drama occurring all over the Italian peninsula and in the colonies in North Africa. The term ‘Hellenic modernism’ is introduced here to underline the fusion of Greek theatre with distinctively modernist traits during the ventennio and provide an analytical tool for investigating the role of classical performances and spectacles within Fascism’s programme of cultural and national renewal.
{"title":"Introduction A Hellenic Modernism: Greek Theatre and Italian Fascism","authors":"Giovanna Di Martino, Eleftheria Ioannidou, Sara Troiani","doi":"10.1093/crj/clad026","DOIUrl":"https://doi.org/10.1093/crj/clad026","url":null,"abstract":"\u0000 The introduction to the special issue explores the central place of Greek theatre within the culture of Italian Fascism. Building on scholarship from the so-called cultural turn in the study of fascism, which variously identified fascism with a form of modernism, it demonstrates that a dialogue between modernism and classicism was fully at work in the performances of ancient drama occurring all over the Italian peninsula and in the colonies in North Africa. The term ‘Hellenic modernism’ is introduced here to underline the fusion of Greek theatre with distinctively modernist traits during the ventennio and provide an analytical tool for investigating the role of classical performances and spectacles within Fascism’s programme of cultural and national renewal.","PeriodicalId":42730,"journal":{"name":"Classical Receptions Journal","volume":"94 23","pages":""},"PeriodicalIF":0.2,"publicationDate":"2024-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139454297","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The adaptation of elements of Greek and Roman myth and folklore is a recurrent aspect of late-twentieth- and early-twenty-first-century fiction on page and screen. These elements are usually presented alongside other mythologies and they, over all, serve to add depth and veracity to the world-building. This is no different in Teen Wolf, an MTV show that focused on Scott McCall’s journey through lycanthropy. However, in most modern fiction the Classical element is one of many sources used in in-story world-building. This paper will present the many examples of the use of Classical elements in Teen Wolf, including: the way the werewolves are presented as Lycaon’s descendants and with elements common to Roman versipelles, the way the Classical past (historic, folkloric, mythic) is included as part of the intradiegetic lore, and how the show itself is built following ancient epic patterns with Classical paradigms as points of reference.
希腊和罗马神话及民间传说元素的改编是 20 世纪晚期和 21 世纪早期小说在纸面和银幕上反复出现的一个方面。这些元素通常与其他神话一起呈现，总体而言，它们有助于增加世界构建的深度和真实性。这一点在《少年狼》（Teen Wolf）中也不例外，这部 MTV 节目主要讲述了斯科特-麦考尔（Scott McCall）的变狼之旅。然而，在大多数现代小说中，古典元素只是故事中世界构建的众多来源之一。本文将介绍《少年狼》中使用古典元素的许多例子，包括：狼人作为莱卡恩后裔的表现方式，以及与罗马versipelles共通的元素；古典过去（历史、民俗、神话）作为内在传说的一部分的方式；以及节目本身是如何以古典范式为参照点，按照古代史诗模式构建的。
{"title":"Lycanthropus adulescens: the Classical element in MTV’s Teen Wolf (2011–17)","authors":"Javier Martínez Jiménez","doi":"10.1093/crj/clad030","DOIUrl":"https://doi.org/10.1093/crj/clad030","url":null,"abstract":"The adaptation of elements of Greek and Roman myth and folklore is a recurrent aspect of late-twentieth- and early-twenty-first-century fiction on page and screen. These elements are usually presented alongside other mythologies and they, over all, serve to add depth and veracity to the world-building. This is no different in Teen Wolf, an MTV show that focused on Scott McCall’s journey through lycanthropy. However, in most modern fiction the Classical element is one of many sources used in in-story world-building. This paper will present the many examples of the use of Classical elements in Teen Wolf, including: the way the werewolves are presented as Lycaon’s descendants and with elements common to Roman versipelles, the way the Classical past (historic, folkloric, mythic) is included as part of the intradiegetic lore, and how the show itself is built following ancient epic patterns with Classical paradigms as points of reference.","PeriodicalId":42730,"journal":{"name":"Classical Receptions Journal","volume":"63 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2023-12-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139169332","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This article considers three moments from the beginning, middle and end of Derek Jarman’s artistic career: Lindsay Kemp’s opening dance in Sebastiane (1976), Jarman’s words on a performance by Michael Clark in the 1980s, and Jarman’s last film Blue (1993), while holding onto the affective registers of his final diary entry (1994). Considering the ways in which Jarman indexed the ephemeral myth-making processes of queer life and art, the author develops a new kinetic-temporal methodology for exploring reception based on the fleeting queer modalities of dance. As such this article makes a series of important connections between classical reception studies, queer theory, critical theory, and dance studies. It argues that, despite the fleeting, erotic, and partial engagements with the past offered by Jarman — which challenges ideas of fixity or lineage — an identification nevertheless emerges with the hierarchies of white supremacist Imperialism.
{"title":"‘Dance against the void’: Derek Jarman, dance, queer classical receptions","authors":"Marcus Bell","doi":"10.1093/crj/clad020","DOIUrl":"https://doi.org/10.1093/crj/clad020","url":null,"abstract":"This article considers three moments from the beginning, middle and end of Derek Jarman’s artistic career: Lindsay Kemp’s opening dance in Sebastiane (1976), Jarman’s words on a performance by Michael Clark in the 1980s, and Jarman’s last film Blue (1993), while holding onto the affective registers of his final diary entry (1994). Considering the ways in which Jarman indexed the ephemeral myth-making processes of queer life and art, the author develops a new kinetic-temporal methodology for exploring reception based on the fleeting queer modalities of dance. As such this article makes a series of important connections between classical reception studies, queer theory, critical theory, and dance studies. It argues that, despite the fleeting, erotic, and partial engagements with the past offered by Jarman — which challenges ideas of fixity or lineage — an identification nevertheless emerges with the hierarchies of white supremacist Imperialism.","PeriodicalId":42730,"journal":{"name":"Classical Receptions Journal","volume":"24 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2023-12-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138579236","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
James Ijames, the winner of a 2022 Pulitzer prize for Fat Ham, loosely based on Hamlet, has just presented a new realization of Medea, Media/Medea, which had its world premiere at Bryn Mawr College and the Community College of Philadelphia in April 2023. This article provides a reading of it, addressing the themes of irony, queer ‘authenticity’, acting, and mothering through the framing of the ‘glitchy counterfactual’ — a conceit we borrow from Legacy Russell’s manifesto for a new Black cyberfeminism to approach the most blatant innovation in Ijames’s version, the unfulfilled infanticide. This astonishing change in the script, which tightly connects Medea with her onomastic negativity and queer unbecoming, urges us to reflect upon survival and survivance in an anti-Black world; it might yield a reckoning in line with Kevin Quashie’s notion of ‘subjunctivity’, Black ‘aliveness’.
{"title":"Medea/Media: a glitchy counterfactual","authors":"Mario Telò, Catherine Conybeare","doi":"10.1093/crj/clad019","DOIUrl":"https://doi.org/10.1093/crj/clad019","url":null,"abstract":"James Ijames, the winner of a 2022 Pulitzer prize for Fat Ham, loosely based on Hamlet, has just presented a new realization of Medea, Media/Medea, which had its world premiere at Bryn Mawr College and the Community College of Philadelphia in April 2023. This article provides a reading of it, addressing the themes of irony, queer ‘authenticity’, acting, and mothering through the framing of the ‘glitchy counterfactual’ — a conceit we borrow from Legacy Russell’s manifesto for a new Black cyberfeminism to approach the most blatant innovation in Ijames’s version, the unfulfilled infanticide. This astonishing change in the script, which tightly connects Medea with her onomastic negativity and queer unbecoming, urges us to reflect upon survival and survivance in an anti-Black world; it might yield a reckoning in line with Kevin Quashie’s notion of ‘subjunctivity’, Black ‘aliveness’.","PeriodicalId":42730,"journal":{"name":"Classical Receptions Journal","volume":"72 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2023-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138530342","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
In Les Chansons de Bilitis (‘The Songs of Bilitis’, 1894), Pierre Louÿs purports to have translated into French for the first time the long-lost Greek poems of Bilitis, a contemporary of Sappho. Classicists have often heralded Bilitis as a watershed moment for reclaiming the lesbian Sappho from the clutches of homophobic, misogynist philologists. This paper complicates this narrative by reframing Bilitis as an object that participates in a broader cultural — and potentially queer — history of forgery. Rather than categorizing Bilitis as a forgery per se, I use forgery (and related textual practices) as a lens for illuminating how Louÿs ‘plays’ the forger and how this performance relates to readers’ divergent desires and reactions. This lens also brings into focus the queer dynamics and effects of this text in relation to Sappho’s corpus. At the same time, following Kadji Amin’s cue to ‘deidealize queerness’ (2017), I show how such queer dynamics are inextricable from colonialist and patriarchal relations of power, in particular an Orientalizing tradition of forgeries by white European and American men. This framework illuminates the affective and political ramifications of forging queer narratives and identifications through the medium of this curious artefact.
在《比利提斯之歌》(Les Chansons de Bilitis, 1894)一书中，皮埃尔Louÿs声称首次将比利提斯(与萨福同时代的人)失传已久的希腊诗歌翻译成法语。古典主义者经常将《胆汁炎》视为一个分水岭，将女同性恋萨福从憎恶同性恋、厌恶女性的语言学家手中夺回。这篇论文通过将Bilitis重新定义为一个参与更广泛的文化——而且可能是奇怪的——伪造历史的对象，使这种叙述变得复杂。我没有将Bilitis本身归类为伪造，而是使用伪造(以及相关的文本实践)作为一个镜头，来阐明Louÿs如何“扮演”伪造者，以及这种表现如何与读者的不同欲望和反应相关联。这一镜头也聚焦了这篇文章与萨福语料库的关系的酷儿动态和影响。同时，根据Kadji Amin关于“去理想化酷儿”(deidealize queerness, 2017)的提示，我展示了这种酷儿动态是如何与殖民主义和父权制的权力关系密不可分的，特别是欧洲和美国白人男性伪造的东方化传统。这个框架阐明了通过这个奇怪的人工制品媒介锻造酷儿叙事和身份的情感和政治后果。
{"title":"Forging lesbians: Sappho and The Songs of Bilitis","authors":"Cat Lambert","doi":"10.1093/crj/clad022","DOIUrl":"https://doi.org/10.1093/crj/clad022","url":null,"abstract":"In Les Chansons de Bilitis (‘The Songs of Bilitis’, 1894), Pierre Louÿs purports to have translated into French for the first time the long-lost Greek poems of Bilitis, a contemporary of Sappho. Classicists have often heralded Bilitis as a watershed moment for reclaiming the lesbian Sappho from the clutches of homophobic, misogynist philologists. This paper complicates this narrative by reframing Bilitis as an object that participates in a broader cultural — and potentially queer — history of forgery. Rather than categorizing Bilitis as a forgery per se, I use forgery (and related textual practices) as a lens for illuminating how Louÿs ‘plays’ the forger and how this performance relates to readers’ divergent desires and reactions. This lens also brings into focus the queer dynamics and effects of this text in relation to Sappho’s corpus. At the same time, following Kadji Amin’s cue to ‘deidealize queerness’ (2017), I show how such queer dynamics are inextricable from colonialist and patriarchal relations of power, in particular an Orientalizing tradition of forgeries by white European and American men. This framework illuminates the affective and political ramifications of forging queer narratives and identifications through the medium of this curious artefact.","PeriodicalId":42730,"journal":{"name":"Classical Receptions Journal","volume":"217 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2023-11-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138530341","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Correction to: Placing ‘moderns’ in a ‘classic’ series: the case of J. M. Dent’s Everyman’s Library","authors":"","doi":"10.1093/crj/clad017","DOIUrl":"https://doi.org/10.1093/crj/clad017","url":null,"abstract":"","PeriodicalId":42730,"journal":{"name":"Classical Receptions Journal","volume":"23 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-10-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"134908419","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract This article analyses the remarkable translation of Aesop’s Fables produced by the Chinese literatus-turned-cultural-impresario Lin Shu [林紓; 1852–1924] at the turn of the twentieth century. Collaborating with colleagues proficient in English, which he himself was not, Lin translated the Fables into elegant Classical Chinese. This article examines the preface to the translation, which uses Aesop’s status as an enduring classical figure in Western education to argue for the continuing relevance of Classical Chinese in newly constituted school curricula. More importantly though, this article probes at the voluminous epimythia Lin composed for most of the fables in the collection. Written immediately after the humiliating Boxer Protocol, these present a feisty critique of Western imperialism in China. They range in topic from China’s lack of cultural self-confidence to comparative reflection on the status of enslaved Africans in the antebellum USA. A confident and wilful reader of texts, in Lin’s hands the Fables become a foil for razor-edged polemic. His translation is surely one of the most culturally significant in the Fables’ long and murky textual history, and represents an overlooked monument of classical reception in an East Asia teetering on the violent edge of modernity.
{"title":"‘The words of a nation worn down by cares’: classical wisdom and modern crisis in Lin Shu’s <i>Aesop’s Fables</i>","authors":"Benjamin Porteous","doi":"10.1093/crj/clad018","DOIUrl":"https://doi.org/10.1093/crj/clad018","url":null,"abstract":"Abstract This article analyses the remarkable translation of Aesop’s Fables produced by the Chinese literatus-turned-cultural-impresario Lin Shu [林紓; 1852–1924] at the turn of the twentieth century. Collaborating with colleagues proficient in English, which he himself was not, Lin translated the Fables into elegant Classical Chinese. This article examines the preface to the translation, which uses Aesop’s status as an enduring classical figure in Western education to argue for the continuing relevance of Classical Chinese in newly constituted school curricula. More importantly though, this article probes at the voluminous epimythia Lin composed for most of the fables in the collection. Written immediately after the humiliating Boxer Protocol, these present a feisty critique of Western imperialism in China. They range in topic from China’s lack of cultural self-confidence to comparative reflection on the status of enslaved Africans in the antebellum USA. A confident and wilful reader of texts, in Lin’s hands the Fables become a foil for razor-edged polemic. His translation is surely one of the most culturally significant in the Fables’ long and murky textual history, and represents an overlooked monument of classical reception in an East Asia teetering on the violent edge of modernity.","PeriodicalId":42730,"journal":{"name":"Classical Receptions Journal","volume":"125 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-10-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135967692","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Auguste de Choiseul-Gouffier’s design for the Temple of Providence in Warsaw, the Polish-Lithuanian Commonwealth’s capital, is the earliest known evidence of European fascination with the Parthenon as a model for modern commemorative architecture. However, it was this proposal’s specific political context which makes it especially interesting from the perspective of classical reception studies. It was an artistic reaction of an aristocratic philhellene to the destructive tendencies of the French Revolution on the eve of the Bourbon monarchy’s abolition. The choice of the Parthenon was expressive of Choiseul-Gouffier’s admiration for the idealized heritage of ancient aristocratic republicanism and its alleged relevance to the political culture of the modern ‘republic’ of Poland-Lithuania.
Auguste de Choiseul Goufier为波兰立陶宛联邦首都华沙普罗维登斯神庙设计的作品，是已知的最早证据，表明欧洲人对帕特农神庙着迷，认为它是现代纪念建筑的典范。然而，正是这一提议的具体政治背景使其从古典接受研究的角度来看特别有趣。这是贵族贵族对波旁王朝废除前夕法国大革命破坏性倾向的艺术反应。帕台农神庙的选择表达了Choiseul Goufier对古代贵族共和主义理想化遗产的钦佩，以及其与波兰-立陶宛现代“共和国”政治文化的相关性。
{"title":"Commemorative Architecture, Periclean Athens and the Polish Revolution of 1791: Auguste de Choiseul-Gouffier’s Parthenon-Inspired Temple for Warsaw","authors":"Mikołaj Getka-Kenig","doi":"10.1093/crj/clad014","DOIUrl":"https://doi.org/10.1093/crj/clad014","url":null,"abstract":"\u0000 Auguste de Choiseul-Gouffier’s design for the Temple of Providence in Warsaw, the Polish-Lithuanian Commonwealth’s capital, is the earliest known evidence of European fascination with the Parthenon as a model for modern commemorative architecture. However, it was this proposal’s specific political context which makes it especially interesting from the perspective of classical reception studies. It was an artistic reaction of an aristocratic philhellene to the destructive tendencies of the French Revolution on the eve of the Bourbon monarchy’s abolition. The choice of the Parthenon was expressive of Choiseul-Gouffier’s admiration for the idealized heritage of ancient aristocratic republicanism and its alleged relevance to the political culture of the modern ‘republic’ of Poland-Lithuania.","PeriodicalId":42730,"journal":{"name":"Classical Receptions Journal","volume":" ","pages":""},"PeriodicalIF":0.2,"publicationDate":"2023-08-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42517475","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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