When we consider classical receptions in terms of presences, we often think of how antiquity materializes visibly and/or substantially in the fabric of our histories, whether as physical remains or concrete traditions. Yet the search for the classical as a solid, conspicuous phenomenon reveals only one side of the fascinating story of how we can conceive its status and circulation across space and time. This article investigates some key examples across the period 1896–2017, from Argentine author J. L. Borges to British poet-translator Josephine Balmer, which disclose the flip side of this story—that of antiquity’s existence on various levels of dispersal, silence, and occlusion at the intersections of poetry, mythopoeic biography, legend-making, and creative translation. It argues that, in their engagement with the Greco-Roman past, these examples both advance our understanding of absence as a critical idiom and question our sense of how antiquity makes its impact on our world as a ‘classical presence’.
{"title":"Classical Absences (1896–2017)","authors":"Ludger Jansen","doi":"10.1093/CRJ/CLAB013","DOIUrl":"https://doi.org/10.1093/CRJ/CLAB013","url":null,"abstract":"\u0000 When we consider classical receptions in terms of presences, we often think of how antiquity materializes visibly and/or substantially in the fabric of our histories, whether as physical remains or concrete traditions. Yet the search for the classical as a solid, conspicuous phenomenon reveals only one side of the fascinating story of how we can conceive its status and circulation across space and time. This article investigates some key examples across the period 1896–2017, from Argentine author J. L. Borges to British poet-translator Josephine Balmer, which disclose the flip side of this story—that of antiquity’s existence on various levels of dispersal, silence, and occlusion at the intersections of poetry, mythopoeic biography, legend-making, and creative translation. It argues that, in their engagement with the Greco-Roman past, these examples both advance our understanding of absence as a critical idiom and question our sense of how antiquity makes its impact on our world as a ‘classical presence’.","PeriodicalId":42730,"journal":{"name":"Classical Receptions Journal","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2021-09-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45413382","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}
Iannis Xenakis (1922–2001) was a radically innovative composer. Violently persecuted for his leftist activism in the Greek Civil War that followed the Second World War, he fled Greece to live the rest of his life in Paris. One of the most explicit expressions of his resultant feelings of trauma, guilt, and displacement can be found in the vocal piece he called Kassandra (1987). This demanding work requires its two performers to enact and explore the alienation experienced by the prophet Cassandra in Aeschylus’ Agamemnon. Xenakis’ Kassandra is defined by a symbiotic relationship between percussionist and vocalist, by a simultaneously controlled and improvisatory score based on extracts from Aeschylus’ Agamemnon, and by a striking use of the baritone singer’s falsetto as well as his chest voice. These features of the piece mark out Cassandra as ‘other’ in her origins, her sex, and her language, while also hinting that her characteristics are not entirely foreign, but are in fact understood or even shared by the very communities that initially seemed to exclude her.
{"title":"The Music Of Iannis Xenakis’ Estranged Kassandra","authors":"Emily Pillinger","doi":"10.1093/crj/clab005","DOIUrl":"https://doi.org/10.1093/crj/clab005","url":null,"abstract":"\u0000 Iannis Xenakis (1922–2001) was a radically innovative composer. Violently persecuted for his leftist activism in the Greek Civil War that followed the Second World War, he fled Greece to live the rest of his life in Paris. One of the most explicit expressions of his resultant feelings of trauma, guilt, and displacement can be found in the vocal piece he called Kassandra (1987). This demanding work requires its two performers to enact and explore the alienation experienced by the prophet Cassandra in Aeschylus’ Agamemnon. Xenakis’ Kassandra is defined by a symbiotic relationship between percussionist and vocalist, by a simultaneously controlled and improvisatory score based on extracts from Aeschylus’ Agamemnon, and by a striking use of the baritone singer’s falsetto as well as his chest voice. These features of the piece mark out Cassandra as ‘other’ in her origins, her sex, and her language, while also hinting that her characteristics are not entirely foreign, but are in fact understood or even shared by the very communities that initially seemed to exclude her.","PeriodicalId":42730,"journal":{"name":"Classical Receptions Journal","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2021-08-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42190442","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":"Erratum to: Plautus goes USA: the adaptation of Rudens by the Ladies’ Literary Society of Washington University in St. Louis, Missouri, in 1884","authors":"Julia Jennifer Beine","doi":"10.1093/crj/clab009","DOIUrl":"https://doi.org/10.1093/crj/clab009","url":null,"abstract":"","PeriodicalId":42730,"journal":{"name":"Classical Receptions Journal","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2021-08-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44930730","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 essay pursues the history of the widespread and influential claim that the ancient Greek tragedian Euripides anticipates the social concerns of modernity and the formal strategies of modernism. The claim originated at the same time as the development of the canon of German tragic criticism at the turn of the nineteenth century. Building on but importantly altering the ancient criticism of Euripides from Aristophanes and Aristotle, Friedrich and August Wilhelm Schlegel and Friedrich Schiller each understood Euripides in close and uncomfortable proximity to their own political moment. The criticism that developed out of this canon both identified Euripides as an untimely modern and produced a series of hostile appraisals of his work. In the conjuncture of modernism in the early twentieth century, professional classicists and modernist poets both accepted the claim of Euripides’ untimely modernity and transvalued its terms: the projection of a ruptural, anticipatory modernity onto Euripides allowed the tragedian to assume the cast of a fellow-traveler of the literary projects of modernism itself. Following the modernist conjuncture, the untimely modernity claim has thoroughly influenced, and frequently dominated, the translation, adaptation, and interpretation of Euripides both inside and outside the professional study of Classics.
{"title":"The ‘Antipoet Of The Greeks’, or, how Euripides became a modernist","authors":"K. Gabriel","doi":"10.1093/crj/claa037","DOIUrl":"https://doi.org/10.1093/crj/claa037","url":null,"abstract":"\u0000 This essay pursues the history of the widespread and influential claim that the ancient Greek tragedian Euripides anticipates the social concerns of modernity and the formal strategies of modernism. The claim originated at the same time as the development of the canon of German tragic criticism at the turn of the nineteenth century. Building on but importantly altering the ancient criticism of Euripides from Aristophanes and Aristotle, Friedrich and August Wilhelm Schlegel and Friedrich Schiller each understood Euripides in close and uncomfortable proximity to their own political moment. The criticism that developed out of this canon both identified Euripides as an untimely modern and produced a series of hostile appraisals of his work. In the conjuncture of modernism in the early twentieth century, professional classicists and modernist poets both accepted the claim of Euripides’ untimely modernity and transvalued its terms: the projection of a ruptural, anticipatory modernity onto Euripides allowed the tragedian to assume the cast of a fellow-traveler of the literary projects of modernism itself. Following the modernist conjuncture, the untimely modernity claim has thoroughly influenced, and frequently dominated, the translation, adaptation, and interpretation of Euripides both inside and outside the professional study of Classics.","PeriodicalId":42730,"journal":{"name":"Classical Receptions Journal","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2021-08-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46872028","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}
Sethe Suggs, the protagonist in Toni Morrison’s novel Beloved, is often compared to Medea. The same analogy with the Colchian princess was often made by contemporaries in relation to Margaret Garner, the historical person on whose life the novel is loosely based. An enslaved African-American woman in the mid-nineteenth century, Garner killed her own daughter after being found by her former owner and was styled a ‘Modern Medea’ in the press. Despite Morrison’s dislike of the comparison as well as its obvious asymmetries, it has become so prominent in recent scholarship on Beloved that it tends to eclipse other elements of classical mythology in the novel. This article explores the hermeneutic productivity of reading Sethe’s infanticide against the backdrop of the myth of Procne and Philomela.
{"title":"Procne in Toni Morrison’s Beloved","authors":"S. Cullhed","doi":"10.1093/crj/clab002","DOIUrl":"https://doi.org/10.1093/crj/clab002","url":null,"abstract":"\u0000 Sethe Suggs, the protagonist in Toni Morrison’s novel Beloved, is often compared to Medea. The same analogy with the Colchian princess was often made by contemporaries in relation to Margaret Garner, the historical person on whose life the novel is loosely based. An enslaved African-American woman in the mid-nineteenth century, Garner killed her own daughter after being found by her former owner and was styled a ‘Modern Medea’ in the press. Despite Morrison’s dislike of the comparison as well as its obvious asymmetries, it has become so prominent in recent scholarship on Beloved that it tends to eclipse other elements of classical mythology in the novel. This article explores the hermeneutic productivity of reading Sethe’s infanticide against the backdrop of the myth of Procne and Philomela.","PeriodicalId":42730,"journal":{"name":"Classical Receptions Journal","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2021-08-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47953922","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}
Andrew Sean Greer’s comedic novel Less is a self-reflexive version of the Odyssey, featuring a gay love story in which the narrator and his subject merge to produce a postmodern homophrosyne that recapitulates the like-mindedness of Odysseus and Penelope. Although the novel makes explicit allusions to specific events and characters of the Homeric epic, its most significant intertextuality is not inscribed in Less’s events and characters, but rather in their telling, as if by a male Penelope to whom Odysseus recounted his tales. Using the device of the mise-en-abyme, and yet disrupting the conventions of novelistic story-telling, Greer aligns the recursive structures of his text in order to intertwine theories of narratology with sexual identity.
安德鲁·肖恩·格里尔(Andrew Sean Greer)的喜剧小说《Less》是《奥德赛》的自我反思版，讲述了一个同性恋的爱情故事，叙述者和他的主人公融合在一起，产生了一种后现代的同调，再现了奥德修斯和佩内洛普的志趣相合。尽管小说对荷马史诗中的特定事件和人物有明确的暗示，但其最重要的互文性并不是写在莱斯的事件和人物身上，而是写在他们的讲述中，就像奥德修斯向一个男性佩内洛普讲述他的故事一样。格里尔运用了一种叙事手法，打破了小说叙事的传统，他将文本的递归结构对齐，以便将叙事学理论与性别身份交织在一起。
{"title":"A good gay Odyssey: Andrew Sean Greer’s Less","authors":"Judith Fletcher","doi":"10.1093/CRJ/CLAA034","DOIUrl":"https://doi.org/10.1093/CRJ/CLAA034","url":null,"abstract":"\u0000 Andrew Sean Greer’s comedic novel Less is a self-reflexive version of the Odyssey, featuring a gay love story in which the narrator and his subject merge to produce a postmodern homophrosyne that recapitulates the like-mindedness of Odysseus and Penelope. Although the novel makes explicit allusions to specific events and characters of the Homeric epic, its most significant intertextuality is not inscribed in Less’s events and characters, but rather in their telling, as if by a male Penelope to whom Odysseus recounted his tales. Using the device of the mise-en-abyme, and yet disrupting the conventions of novelistic story-telling, Greer aligns the recursive structures of his text in order to intertwine theories of narratology with sexual identity.","PeriodicalId":42730,"journal":{"name":"Classical Receptions Journal","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2021-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41774756","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 investigates the first documented performance of a Plautine comedy in Latin in the USA. In 1884, The Ladies’ Literary Society of Washington University in St. Louis, Missouri, staged Plautus’ Rudens in Latin with an all-female cast. This performance offers a unique opportunity to analyse the Society’s understanding and interpretation of Plautus’ play as well as its adaptation for the nineteenth-century stage. Furthermore, the Society provided an English translation for its academic and especially its non-academic audience, evidence of how the Society dealt with the Plautine Latin text. Based on this translation and contemporary newspaper and journal articles, this article outlines the main characteristics of the Society’s adaptation. First, this production merits scrutiny in the historical context of staging ancient Greek and Roman plays in the USA during the late-nineteenth century, since the Society followed the trend, started by Harvard University’s staging of Sophocles’ Oedipus Tyrannus in 1881, of presenting ancient plays ‘authentically’. Nevertheless, the Society seems to have staged this Roman comedy as a feminist response to Harvard’s production of a Greek tragedy. Secondly, the Society modernised Plautus’ comedy by adding strong melodramatic elements, and thirdly, it reflected the contemporary socio-cultural context by alluding to current American concerns.
{"title":"Plautus goes USA: the adaptation of Rudens by the Ladies’ Literary Society of Washington University in St. Louis, Missouri, in 1884","authors":"Julia Jennifer Beine","doi":"10.1093/crj/clab004","DOIUrl":"https://doi.org/10.1093/crj/clab004","url":null,"abstract":"\u0000 This article investigates the first documented performance of a Plautine comedy in Latin in the USA. In 1884, The Ladies’ Literary Society of Washington University in St. Louis, Missouri, staged Plautus’ Rudens in Latin with an all-female cast. This performance offers a unique opportunity to analyse the Society’s understanding and interpretation of Plautus’ play as well as its adaptation for the nineteenth-century stage. Furthermore, the Society provided an English translation for its academic and especially its non-academic audience, evidence of how the Society dealt with the Plautine Latin text. Based on this translation and contemporary newspaper and journal articles, this article outlines the main characteristics of the Society’s adaptation. First, this production merits scrutiny in the historical context of staging ancient Greek and Roman plays in the USA during the late-nineteenth century, since the Society followed the trend, started by Harvard University’s staging of Sophocles’ Oedipus Tyrannus in 1881, of presenting ancient plays ‘authentically’. Nevertheless, the Society seems to have staged this Roman comedy as a feminist response to Harvard’s production of a Greek tragedy. Secondly, the Society modernised Plautus’ comedy by adding strong melodramatic elements, and thirdly, it reflected the contemporary socio-cultural context by alluding to current American concerns.","PeriodicalId":42730,"journal":{"name":"Classical Receptions Journal","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2021-06-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42554674","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 provides a rejoinder to Giorgio Agamben’s interpretation of the Hadot-Foucault dialogue, which appeared in the pivotal ‘Intermezzo’ of The Use of Bodies. In ‘Pushing against the open door’ section, we provide a close reading of Agamben’s claims about Hadot’s alleged misreadings of Foucault on the ancients and on subjectivity more widely. We demonstrate how, far from rebutting Hadot, these claims end up confirming the latter’s positions on Foucault malgré Agamben. In ‘Wisdom, the cosmic dimension, and the “objectivist-exercisant” self’ section, we draw on classicist Christopher Gill’s notion of the ‘objectivist-participant’ self in Greco-Roman Antiquity, to argue that the deepest stakes of the debate between Foucault and Hadot do not implicate Hadot’s incompetence, as Agamben suggests. They concern Foucault’s unease, as well as Agamben’s misunderstanding, of the objective and participative dimensions of ancient conceptions of selfhood. In ‘The ghosts of christianities past’ section, we contest the recurrent tendency of commentators, like Agamben, to assume latent carry-overs of Hadot’s early religiosity in his later works on Greek and Roman philosophy and spiritual exercises as reflecting the long shadow of Christianity in postmodern thought.
{"title":"Pushing against an open door: Agamben on Hadot and Foucault","authors":"M. Sharpe, Matteo J. Stettler","doi":"10.1093/CRJ/CLAB007","DOIUrl":"https://doi.org/10.1093/CRJ/CLAB007","url":null,"abstract":"\u0000 This article provides a rejoinder to Giorgio Agamben’s interpretation of the Hadot-Foucault dialogue, which appeared in the pivotal ‘Intermezzo’ of The Use of Bodies. In ‘Pushing against the open door’ section, we provide a close reading of Agamben’s claims about Hadot’s alleged misreadings of Foucault on the ancients and on subjectivity more widely. We demonstrate how, far from rebutting Hadot, these claims end up confirming the latter’s positions on Foucault malgré Agamben. In ‘Wisdom, the cosmic dimension, and the “objectivist-exercisant” self’ section, we draw on classicist Christopher Gill’s notion of the ‘objectivist-participant’ self in Greco-Roman Antiquity, to argue that the deepest stakes of the debate between Foucault and Hadot do not implicate Hadot’s incompetence, as Agamben suggests. They concern Foucault’s unease, as well as Agamben’s misunderstanding, of the objective and participative dimensions of ancient conceptions of selfhood. In ‘The ghosts of christianities past’ section, we contest the recurrent tendency of commentators, like Agamben, to assume latent carry-overs of Hadot’s early religiosity in his later works on Greek and Roman philosophy and spiritual exercises as reflecting the long shadow of Christianity in postmodern thought.","PeriodicalId":42730,"journal":{"name":"Classical Receptions Journal","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2021-06-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43770266","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":"Introduction: Poetics as Classical Reception","authors":"Vladimir Brljak, Michael E Lazarus","doi":"10.1093/CRJ/CLAA028","DOIUrl":"https://doi.org/10.1093/CRJ/CLAA028","url":null,"abstract":"","PeriodicalId":42730,"journal":{"name":"Classical Receptions Journal","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2021-06-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46030984","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 looks at Jacques Peletier du Mans’s (1555) rhetorical and poetic treatise, Art poëtique, with a focus on his theory on comedy. It draws comparisons with Peletier’s 1541 literary treatise, which was the first translation into French of Horace’s Ars Poetica. In his 1555 treatise, Peletier developed Horace’s position on comedy into his own original theory, moulding the classical model to fit within a contemporary context and setting out the ways in which comedy most benefits early modern writers and readers. To create his theory on comedy — which was widely read in France throughout the sixteenth century — Peletier also took inspiration from other classical writers and from Italian theoreticians. Ultimately, this article helps to determine the rhetorical and theoretical position of comedy in France in the mid-sixteenth century, in relation to its classical and Italian counterparts. It also deepens and broadens our understanding of Peletier’s literary theory. Despite being one of the most prominent French literary treatises of the period, Peletier’s approach to comedy has been overlooked in scholarship, and many of his models have not been identified.
本文着眼于Jacques Peletier du Mans(1555)的修辞和诗歌论文Art poëtique，重点关注他的喜剧理论。它与珀雷蒂埃1541年的文学论文进行了比较，这是贺拉斯的Ars Poetica的第一次翻译成法语。在他1555年的论文中，Peletier将贺拉斯对喜剧的立场发展成他自己的原创理论，将经典模型塑造成适合当代背景的模型，并阐述了喜剧最有利于早期现代作家和读者的方式。为了创造他的喜剧理论——在整个16世纪在法国广为流传——佩列捷还从其他古典作家和意大利理论家那里获得了灵感。最终，本文有助于确定16世纪中期法国喜剧的修辞和理论地位，以及与古典和意大利同类作品的关系。这也加深和拓宽了我们对佩雷蒂埃文学理论的理解。尽管佩雷蒂埃是这一时期最杰出的法国文学专著之一，但他对喜剧的研究方法却被学术界所忽视，他的许多模式也没有得到确认。
{"title":"The Poetics of Comedy in Jacques Peletier Du Mans’s Art poëtique (1555)","authors":"L. Rayfield","doi":"10.1093/CRJ/CLAA020","DOIUrl":"https://doi.org/10.1093/CRJ/CLAA020","url":null,"abstract":"\u0000 This article looks at Jacques Peletier du Mans’s (1555) rhetorical and poetic treatise, Art poëtique, with a focus on his theory on comedy. It draws comparisons with Peletier’s 1541 literary treatise, which was the first translation into French of Horace’s Ars Poetica. In his 1555 treatise, Peletier developed Horace’s position on comedy into his own original theory, moulding the classical model to fit within a contemporary context and setting out the ways in which comedy most benefits early modern writers and readers. To create his theory on comedy — which was widely read in France throughout the sixteenth century — Peletier also took inspiration from other classical writers and from Italian theoreticians. Ultimately, this article helps to determine the rhetorical and theoretical position of comedy in France in the mid-sixteenth century, in relation to its classical and Italian counterparts. It also deepens and broadens our understanding of Peletier’s literary theory. Despite being one of the most prominent French literary treatises of the period, Peletier’s approach to comedy has been overlooked in scholarship, and many of his models have not been identified.","PeriodicalId":42730,"journal":{"name":"Classical Receptions Journal","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2021-06-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43552639","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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