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Written in a lively and accessible style, Antiquity Now opens our gaze to the myriad uses and abuses of classical antiquity in contemporary fiction, film, comics, drama, television - and even internet forums. With every chapter focusing on a different aspect of classical reception - including sexuality, politics, gender and ethnicity - this book explores the ideological motivations behind contemporary American allusions to the classical world. Ultimately, this kaleidoscope of receptions - from calls for marriage equality to examinations of gang violence to passionate pleas for peace (or war) - reveals a 'classical antiquity' that reconfigures itself daily, as modernity explains itself to itself through ever-expanding technologies and media. Antiquity Now thus examines the often-surprising redeployment of the art and literature of the ancient world, a geography charged with especial value in the contemporary imagination.Read more
- Examines the ideological uses of antiquity in contemporary media, appealing to a wide swathe of readers, including those with interests in film, comic books, theatre and television
- Written in a vibrant and accessible style that gives adequate background for those without expertise in the classical world
- The introduction provides a brief overview of the field of reception studies in classics, and is suitable for use in undergraduate curricula
- Winner, 2016 Choice Outstanding Academic Title
Reviews & endorsements
'Every college library needs this book, as does everyone interested in classical reception, and every classicist should join Jenkins in reflecting how the classics still matter in popular culture.' Clayton Miles Lehmann, University of South Dakota
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- Date Published: November 2017
- format: Paperback
- isbn: 9780521154345
- length: 261 pages
- dimensions: 244 x 170 x 14 mm
- weight: 0.424kg
- contains: 25 b/w illus.
- availability: Available
Table of Contents
2. It's Greek to them: gay and lesbian receptions of the ancient world
3. Classics and ideology
4. September 11th on the Western stage
5. From the borders: contemporary identity, community, and the ancient world
6. Power, the canon, and the unexpected voice
Conclusion: on fractures and fracturing.
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