Relevant bibliographies by topics / Classical Greek poetry

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters

Academic literature on the topic 'Classical Greek poetry'

Author: Grafiati
Published: 4 June 2021
Last updated: 15 February 2022

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Journal articles on the topic "Classical Greek poetry"

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Greene, Robin J. "Post-Classical Greek Elegy and Lyric Poetry." Brill Research Perspectives in Classical Poetry 2, no. 2 (June 17, 2021): 1–130. http://dx.doi.org/10.1163/25892649-12340004.

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Abstract This volume traces the development of Greek elegy and lyric in the hands of Hellenistic and Roman-era poets, from literary superstars such as Callimachus and Theocritus to more obscure, often anonymous authors. Designed as a guide for advanced students and scholars working in adjacent fields, this volume introduces and explores the diverse body of surviving later Greek elegy and lyric, contextualizes it within Hellenistic and Roman culture and politics, and surveys contemporary critical interpretations, methodological approaches, and avenues for future study.
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Graff, Richard. "Prose versus Poetry in Early Greek Theories of Style." Rhetorica 23, no. 4 (2005): 303–35. http://dx.doi.org/10.1525/rh.2005.23.4.303.

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Abstract The rise of prose in Greece has been linked to broader cultural and intellectual developments under way in the classical period. Prose has also been characterized as challenging poetry's traditional status as the privileged expression of the culture. Yet throughout the classical period and beyond, poetry was still regularly invoked as the yardstick by which innovation was measured. This paper investigates how poetry figures in the earliest accounts of prose style. Focusing on Isocrates, Alcidamas, and Aristotle, it argues that although each author distinguishes between the styles of prose and poetry, none is able to sustain the distinction consistently. The criteria for what constitutes an acceptable level of poeticality in prose were unstable. The diverse conceptions of poetic style were tied to intellectual polemics and professional rivalries of the early- to mid-fourth century bce and reflect competing aims and ideals for rhetorical performance in prose.
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Bzinkowski, Michał, and Rita Winiarska. "Images of Sculptures in the Poetry of Giorgis Manousakis." Classica Cracoviensia 19 (December 31, 2016): 5–14. http://dx.doi.org/10.12797/cc.19.2016.01.

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The imagery of fragmentary sculptures, statues and stones appears often in Modern Greek Poetry in connection with the question of Modern Greeks’ relation to ancient Greek past and legacy. Many famous poets such as the first Nobel Prize winner in literature, George Seferis (1900-1971), as well as Yannis Ritsos (1909-1990) frequently use sculptural imagery in order to allude to, among other things, though in different approaches, the classical past and its existence in modern conscience as a part of cultural identity. In the present paper we focus on some selected poems by a well-known Cretan poet Giorgis Manousakis (1933-2008) from his collection “Broken Sculptures and Bitter Plants” (Σπασμένα αγάλματα και πικροβότανα, 2005), trying to shed some light on his very peculiar usage of sculpture imagery in comparison with the earlier Greek poets. We attempt to categorize Manousakis’ metaphors and allusions regarding the symbolism of sculptures in correlation with existential motives of his poetry and the poet’s attitude to the classical legacy.
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Skarbek-Kazanecki, Jan. "When poetry becomes autobiography: anecdote as an interpretative tool in the Greek classical epoch." Tekstualia 2, no. 61 (August 15, 2020): 19–36. http://dx.doi.org/10.5604/01.3001.0014.3810.

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The article discusses the role of biography in the reception of archaic poetry in the classical period. As it is illustrated by a fragment of Critias (295W), in the fi fth century B.C. the archaic poetic traditions, previously transmitted orally through performance, began to be interpreted from a biographical perspective: fi rst-person statements were mostly associated with the poets themselves and treated as a source of biographical information; in other words, archaic poetry came to be seen as a kind of autobiography. Anecdotes about poets were used to interpret the same poems which had provided the basis for these false stories: as an interpretative tool, they simplifi ed old compositions, not always clear for the reader. Until the 1980s, classical philologists often relied on false testimonies from the classical and Hellenistic era, limited by their attachment to the biographical perspective.
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Camilleri, Anna. "Byron and Antiquity, ‘Et Cetera - ’." Byron Journal 48, no. 2 (December 1, 2020): 145–56. http://dx.doi.org/10.3828/bj.2020.20.

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Byron’s interest in the classical past is manifest throughout his life and work. Alongside citations from and references to a remarkable catalogue of writers, thinkers, and historical figures, we also have extensive poetic responses to classical places, classical architecture, and to Greek and Roman art and sculpture. Yet it is clear that Byron’s classical pretentions are by no means underpinned by a thorough grasp of classical languages. His Greek in particular was extremely poor, and his Latin compositions barely better than the average eighteenth-century schoolboy’s. As I shall go on to demonstrate, this does not mean that attending to those moments when he does stray into classical allusion or composition is uninteresting, but it is Latin and not Greek that Byron engages with most frequently. Specifically, Byron’s less than proper Latin becomes a means by which he negotiates less than proper subject matter in his poetry.
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Pormann, Peter E. "Greek Thought, Modern Arabic Culture: Classical Receptions since the Nahḍa." Intellectual History of the Islamicate World 3, no. 1-2 (2015): 291–315. http://dx.doi.org/10.1163/2212943x-00301011.

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This article surveys the growing, yet largely understudied field of classical receptions in the modern Arab world, with a specific focus on Egypt and the Levant. After giving a short account of the state of the field and reviewing a small number of previous studies, the article discusses how classical studies as a discipline fared in Egypt; and how this discipline informed modern debates about religous identity, and notably views on the textual history of the Qurʾān. It then turns to three literary genres, epic poetry, drama, and lyrical poetry, and explores the reception of classical literature and myth in each of them. It concludes with an appeal to study this reception phenomenon on a much broader scale.
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Agosti, Gianfranco. "Literariness and Levels of Style in Epigraphical Poetry of Late Antiquity." Ramus 37, no. 1-2 (2008): 191–213. http://dx.doi.org/10.1017/s0048671x00004975.

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Nowadays, scholars usually speak of a ‘renaissance’ of poetry in the Greek literature of late antiquity, underlining at the same time the new relevance of poetic communication in late antique society and the renewal of our interest in this not so well-known production of late Greek literature. Renaissance and related terms are, of course, effective ways to describe the flowering of Greek poetry from the fourth to sixth centuries CE, so long as this does not undervalue the importance of continuity (which is not the same as tradition). Even the most significant innovation in late antique Greek poetry, namely the so-called ‘Nonnian manner’ or ‘modern style’, stems from a longtime sedimentation and perfectioning of linguistic and stylistic features which can be traced back to the Hellenistic age. Albert Wifstrand, in his seminal book of 1933, already pointed to this major fact, which Mary Whitby has systematically dealt with in an important article of 1994. Moreover, recent studies demonstrate that for a proper understanding of late antique poetry one must take into account Christian poetic production as well, which stands four-square within the traditions of Greek literature (in spite of the fact that classical = pagan is an equation which dies hard for some classicists). In the present paper both pagan and Christian epigrams will be considered to equally represent the aesthetics of late antiquity (or estetica antico-bizantina, to use Averincev's terminology).
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Fearn, David. "Greek Lyric of the Archaic and Classical Periods." Brill Research Perspectives in Classical Poetry 1, no. 1 (December 19, 2019): 1–113. http://dx.doi.org/10.1163/25892649-12340001.

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Abstract What is distinctive about Greek lyric poetry? How should we conceptualize it in relation to broader categories such as literature / song / music / rhetoric / history? What critical tools might we use to analyze it? How do we, should we, can we relate to its intensities of expression, its modes of address, its uses of myth and imagery, its attitudes to materiality, its sense of its own time, and its contextualizations? These are the questions that this discussion seeks to investigate, exploring and analysing a range of influential methodologies that have shaped the recent history of the field.
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Phillips, Tom. "Unapprehended relations." Classical Receptions Journal 12, no. 1 (January 1, 2020): 109–27. http://dx.doi.org/10.1093/crj/clz024.

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Abstract This article addresses P.B. Shelley’s ‘Hymn to Mercury’ and allusions to classical literature in ‘Ode to Liberty’. Congruities emerge between Shelley’s poetic practice, his conception of poetry’s social role, and his understanding of the relationship between antiquity and the present. When translating and reshaping ancient Greek poetry, he brings to the surface morally significant features of that poetry which only emerge in the dialogues that his writing creates. In doing so, he enacts literary history as a process that both reflects and enables expansions of the moral imagination.
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Bowie, Ewen L. "Greek Table-Talk before Plato." Rhetorica 11, no. 4 (1993): 355–71. http://dx.doi.org/10.1525/rh.1993.11.4.355.

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Abstract: This essay analyses conversation at archaic and classical Greek banquets and symposia, using first epic, then elegiac and lyric poetry, and finally Old Comedy. Epic offers few topics, mostiy arising from the situation of a guest. Those of sympotic poetry, from which prose exchanges may cautiously be inferred, are more numerous:reflection, praise of the living and the dead, consolation of the bereaved, proclamations of likes and dislikes, declarations of love,narrative of one's own erotic experiences or (scandalously) of others',personal criticism and abuse, and the telling of fables. Many of these verbal interventions are competitive. Comedy reinforces the prevalence of an ethos of entertainment, corroborating the telling of fables and adding creditable anecdotes about one's career, singing skolia,and playing games of "comparisons" and riddles.
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Dissertations / Theses on the topic "Classical Greek poetry"

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Giannakopoulou, Aglaia. "Ancient Greek sculpture in modern Greek poetry, 1860-1960." Thesis, King's College London (University of London), 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.322258.

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Metcalf, Christopher Michael Simon. "Aspects of early Greek and Babylonian hymnic poetry." Thesis, University of Oxford, 2013. http://ora.ox.ac.uk/objects/uuid:70c45666-9768-41ac-bf42-5b5e1926d6d6.

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This thesis is a case study of early Greek poetry in comparison to the literature of the ancient Near East, especially Mesopotamia, based on a selection of hymns (or: songs in praise of gods) mainly in Sumerian, Akkadian, Hittite and Greek. Chapters 1–3 present the core groups of primary sources from the ancient Near East: Old Babylonian Sumerian, Old Babylonian Akkadian, Hittite. The aim of these chapters is to analyse the main features of style and content of Sumerian and Akkadian hymnic poetry, and to show how certain compositions were translated and adapted beyond Mesopotamia (such as in Hittite). Chapter 4 contains introductory remarks on early Greek hymnic poetry accompanied by some initial comparative observations. On the basis of the primary sources presented in Chapters 1–4, the second half of the thesis investigates selected elements of form and content in a comparative perspective: hymnic openings (Chapter 5), negative predication (Chapter 6), the birth of Aphrodite in the Theogony of Hesiod (Chapter 7), and the origins and development of a phrase in Hittite prayers and the Iliad of Homer (Chapter 8). The conclusion of Chapters 4–6 is that, in terms of form and style, early Greek hymns were probably not indebted to ancient Near Eastern models. This contradicts some current thinking in Classical scholarship, according to which Near Eastern influence was pervasive in early Greek poetry in general. Chapters 7–8 argue that such influence may nevertheless be perceived in certain closely defined instances, particularly where supplementary evidence from other ancient sources is available, and where the extant sources permit a reconstruction of the process of translation and adaptation. Hence this thesis seeks to contribute to the current debate on early Greek and ancient Near Eastern literature with a detailed analysis of a selected group of primary sources.
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Nikolaev, Alexander Sergeevich. "Diachronic Poetics and Language History: Studies in Archaic Greek Poetry." Thesis, Harvard University, 2012. http://dissertations.umi.com/gsas.harvard:10489.

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The broad objective of this dissertation is an interdisciplinary study uniting historical linguistics, classical philology, and comparative poetics in an attempt to investigate archaic Greek poetic texts from a diachronic perspective. This thesis consists of two parts. The first part, “Etymology and Poetics”, is devoted to several cases where scantiness of attestation and lack of semantic information render traditional philological methods of textual interpretation insufficient. In such cases, the meaning of a word has to be arrived at through linguistic analysis and verified through appeal to related poetic traditions, such as that of Indo-Iranian. Chapter 1 proposes a new interpretation for the enigmatic word ἀάατο̋, the Homeric epithet of the waters of the Styx, which is shown to have meant ‘sunless’. Chapter 2 deals with the word ἀριδείκετο̋, argued to mean ‘famous’: this solution finds support in the use of the root *dei̯k- in the poetic expression “to show forth praise”, found in Greek choral lyric and the Rigveda. Chapter 3 investigates the history of the verbs ἰάπτω ‘to harm’ and ἰάπτω ‘to send forth (to Hades)’. Chapter 4 improves the text of Pindar (O. 6.54), restoring a form ἀπειράτωι. Chapter 5 discusses the difficult word ἀμαυρό̋, establishing for it a meaning ‘weak’ and proposing a new etymology. Finally, Chapter 6 places Alc. 34 in the context of comparative mythology, with the object of reconstructing the history of the Lesbian lyric tradition. The second part, “Grammar of Poetry”, shifts the focus of the inquiry from comparative poetics to the language of early Greek poetry and its use. Chapter 7 addresses the problematic Homeric aorist infinitives in -έειν, showing how these artificial forms were created by allomorphic remodeling driven by metrical necessity; the problem is placed in the wider context of the debate about the transmission and development of Homeric epic diction. The metrical and linguistic facts relating to the distribution of infinitives are further discussed in Chapter 8, where it is argued that the unexpected Aeolic form νηφέμεν in Archil. 4 should be viewed as an intentional allusion to the epic tradition, specifically, the famous midsummer picnic scene in Hesiod.
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Papastamati, S. "Gamos in archaic and classical Greek poetry : theme, ritual and metaphor." Thesis, University College London (University of London), 2013. http://discovery.ucl.ac.uk/1389425/.

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This thesis considers how advances in optical network and optoelectronic technologies may be utilised in particle physics applications. The research is carried out within a certain framework; CERN’s Large Hadron Collider (LHC) upgrade. The focus is on the upgrade of the ”last-tier” data links, those residing between the last information-processing stage and the accelerator. For that purpose, different network architectures, based on the Pas¬sive Optical Network (PON) architectural paradigm, are designed and evaluated. Firstly, a Time-Division Multiplexed (TDM) PON targeting timing, trigger and control applica¬tions is designed. The bi-directional, point-to-multipoint nature of the architecture leads to infrastructure efficiency increase. A custom protocol is developed and implemented us¬ing FPGAs. It is experimentally verified that the network design can deliver significantly higher data rate than the current infrastructure and meet the stringent latency require¬ments of the targeted application. Consequently, the design of a network that can be utilised to transmit all types of information at the upgraded LHC, the High-Luminosity LHC (HL-LHC) is discussed. The most challenging requirement is that of the high up¬stream data rate. As WDM offers virtual point-to-point connectivity, the possibility of using a Wavelength-Division Multiplexed (WDM) PON is theoretically investigated. The shortcomings of this solution are identified; these include high cost and complexity, therefore a simpler architecture is designed. This is also based on the PON paradigm and features the use of Reflective Electroabsorption Modulators (REAM) at the front-end (close to the particle collision point). Its performance is experimentally investigated and shown to meet the requirements of a unified architecture at the HL-LHC from a networking perspective. Finally, since the radiation resistance of optoelectronic components used at the front-end is of major importance, the REAM radiation hardness is experimentally investigated. Their radiation resistance limits are established, while new insights into the radiation damage mechanism are gained.
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Fearn, David. "Bacchylides : politics and poetic tradition." Thesis, University of Oxford, 2003. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.273160.

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Willi, Andreas. "The language of Aristophanes : aspects of linguistic variation in classical Attic Greek." Thesis, University of Oxford, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.365461.

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Phipps, S. R. "The styles and voices of non-dramatic Greek poetry in the fourth century BC." Thesis, University of Oxford, 2011. http://ora.ox.ac.uk/objects/uuid:b4003441-7b02-4441-b5c6-8990d62dad9d.

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This thesis is an investigation into the styles and voices of the non-dramatic Greek poetry of the fourth century BC. This has been a neglected area of study in Greek literary history, and the extant poems of the fourth century have either been largely ignored or regarded contemptuously by modern critics. I seek to redress this balance by providing close readings of surviving poems, and aim to show that contrary to widespread opinion, there are signs that this is a period of dynamic creativity. The first section looks more closely at the various factors that have led to a neglect of fourth-century poetry, including issues of periodization, the transmission of texts and the canonisation of poetry, the impact of musical and technological innovations and of social changes. Scholarship on late-classical Greek art is also discussed as a comparison. I then turn to discuss specific texts in depth, focussing on the way poems characterise themselves through speakers and addressees. I begin with inscribed poetry (epigrams and hymns), in which I observe tendencies both to conform to a generic model and occasionally to produce more apparently literary-conscious works. The sometimes intrusive presence of the learned author-narrator is discussed in ‘bookish’ poems; the final section is devoted to various kinds of sung poetry, including enkomia, burlesque and parody. Although the texts I analyse are diverse in genre and character, they are sufficient to point to a wider vitality of literary activity throughout the century.
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Ladianou, Aikaterini. "Logos Gynaikos: Feminine Voice in Archaic Greek Poetry." The Ohio State University, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=osu1236711421.

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Meister, Felix Johannes. "Momentary immortality : Greek praise poetry and the rhetoric of the extraordinary." Thesis, University of Oxford, 2015. http://ora.ox.ac.uk/objects/uuid:2a2e9801-b29e-485f-bb1d-2eda190de8e1.

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This thesis takes as its starting point current views on the relationship between man and god in Archaic and Classical Greek literature, according to which mortality and immortality are primarily temporal concepts and, therefore, mutually exclusive. This thesis aims to show that this mutual exclusivity between mortality and immortality is emphasised only in certain poetic genres, while others, namely those centred on extraordinary achievements or exceptional moments in the life of a mortal, can reduce the temporal notion of immortality and emphasise instead the happiness, success, and undisturbed existence that characterise divine life. Here, the paradox of momentary immortality emerges as something attainable to mortals in the poetic representation of certain occasions. The chapters of this thesis pursue such notions of momentary immortality in the wedding ceremony, as presented through wedding songs, in celebrations for athletic victory, as presented through the epinician, and at certain stages of the tragic plot. In the chapter on the wedding song, the discussion focuses on explicit comparisons between the beauty of bride and bridegroom and that of heroes or gods, and between their happiness and divine bliss. The chapter on the epinician analyses the parallelism between the achievement of victory and the exploits of mythical heroes, and argues for a parallelism between the victory celebration and immortalisation. Finally, the chapter on tragedy examines how characters are perceived as godlike because of their beauty, success, or power, and discusses how these perceptions are exploited by the tragedians for certain effects. By examining features of a rhetoric of praise, this thesis is not concerned with the beliefs or expectations of the author, the recipient of praise, or the surrounding milieu. It rather intends to elucidate how moments conceived of as extraordinary are communicated in poetry.
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Hammond, Rhona Bobbi. "The influence of the classical tradition on the poetry of Derek Walcott." Thesis, Open University, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.368004.

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Books on the topic "Classical Greek poetry"

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Francis, Cairns, ed. Greek and Roman poetry, Greek and Roman historiography. Cambridge: Francis Cairns, 2005.

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Generic composition in Greek and Roman poetry. Ann Arbor, Mich: Michigan Classical Press, 2008.

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Greek poets. Ipswich, Mass: Salem Press, 2012.

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1922-, Ostwald Martin, and Rosenmeyer Thomas G, eds. The meters of Greek and Latin poetry. Indianapolis: Hackett, 1994.

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Relative chronology in early Greek epic poetry. Cambridge: Cambridge University Press, 2011.

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A dictionary of classical references in English poetry. Totowa, N.J: Barnes & Noble, 1986.

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(1998), Leeds International Latin Seminar. Papers of the Leeds International Latin Seminar, tenth volume, 1998: Greek poetry, drama, prose, Roman poetry. Leeds: F. Cairns, 1998.

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Leeds International Latin Seminar (1996). Papers of the Leeds International Latin Seminar, ninth volume, 1996: Roman poetry and prose, Greek poetry, etymology, historiography. Leeds: F. Cairns, 1996.

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Sound, sense, and rhythm: Listening to Greek and Latin poetry. Princeton, N.J: Princeton University Press, 2002.

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Bowie, Ewen, and Lucia Athanassaki. Archaic and classical choral song: Performance, politics and dissemination. Berlin: De Gruyter, 2011.

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Book chapters on the topic "Classical Greek poetry"

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Horyna, Břetislav. "Prométheus například. Moc mýtu, distance a přihlížení podle Hanse Blumenberga." In Filosofie jako životní cesta, 130–45. Brno: Masaryk University Press, 2019. http://dx.doi.org/10.5817/cz.muni.p210-9458-2019-8.

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The Study Prometheus, for example loosely follows up the central theme of Hans Blumenberg’s theory of myth and mythology, the character of Prometheus and Promethean conceptions in scientific as well as imaginative literature (poetry and drama). The aim is not an elaborate reflection of all the variations on Promethean themes that were summarized in Blumenberg’s epochal book Work on Myth (1979). The author rather selects some themes from the works on the myth about Prometheus in Classical Greek literature (Hesiod, Aeschylus) and, at the turn of modernism, in German movement Sturm und Drang (Goethe). Most attention is paid to a fictional figure known as actio per distans (action at distance, with keeping a distance) and its variations from the distance between people and gods through the distance between people to the distance of an ageing poet from spirit of the age (Zeitgeist), to which he no longer belongs.
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Coira, M. Pía. "Greek Gaels, British Gaels." In Celts, Romans, Britons, 97–116. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198863076.003.0006.

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This chapter explores the use of Classical allusions in early-modern Scottish Gaelic poetry, and the two distinct ways in which they connected with the Scottish Gaels’ understanding of Britishness. Gaelic Scotland and Gaelic Ireland shared the same field of literary reference, with Ireland as the fountainhead. Consequently, Classical reception in Scottish Gaelic literature owed much to Classical reception in Ireland. However, once Scotland became part of the kingdom of Britain, and particularly in the Jacobite period, poets began to deploy new Classical allusions, in which a shift in type and purpose can be detected, designed to address contemporary political circumstances. A sense of Gaelic Britishness, and a specific understanding of what it meant to be British, developed in Gaelic Scotland in the seventeenth century. Classical allusion played a meaningful role in its expression through poetic discourse right up to the aftermath of Culloden, the final Jacobite defeat.
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"Post-Classical Greek Elegy and Lyric Poetry." In Post-Classical Greek Elegy and Lyric Poetry, 1–130. BRILL, 2021. http://dx.doi.org/10.1163/9789004469266_002.

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Attridge, Derek. "Classical Greece to Ptolemaic Alexandria: Writers and Readers." In The Experience of Poetry, 55–82. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780198833154.003.0004.

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When the Phoenician alphabet was adapted for use in Greece remains a matter of debate, but the impact of writing on poetry appears most clearly around the end of the sixth century BC when papyrus rolls became more common. However, it was not until the establishment of Alexandria as a major centre of Greek culture in the later fourth century that the reading of poetry on the written page became the norm. This chapter focuses on the experience of poetry in Alexandria in this period. With the loss of the musical dimension of Greek lyric, poetry became more exclusively a matter of the speaking voice, and the epigram became a favoured genre. The extensive collection of papyrus rolls in the Library of Alexander made the work of earlier writers accessible and encouraged highly allusive verse. These qualities are best demonstrated in the poetry of Callimachus, one of whose poems is discussed as an example of the dramatic recreation of performance in a work designed to be read.
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"The Greek Anacreontics and Sixteenth-Century French Lyric Poetry." In The Classical Heritage in France, 393–424. BRILL, 2002. http://dx.doi.org/10.1163/9789047400639_018.

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Byrne, Sandie. "Metre and Memory (and Μνημοσύνη‎)." In New Light on Tony Harrison, 53–70. British Academy, 2019. http://dx.doi.org/10.5871/bacad/9780197266519.003.0006.

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This chapter looks at Tony Harrison's self-appointed role as Bard and considers the significance of this in relation to Ancient and Classical Greek ideas about poetry and poets, particularly the public function of poetry and the relationship between poetry and memory.
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Cairns, Douglas. "Metaphors for Hope in Archaic and Classical Greek Poetry." In Hope, Joy, and Affection in the Classical World, 13–44. Oxford University Press, 2016. http://dx.doi.org/10.1093/acprof:oso/9780190278298.003.0002.

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Taplin, Oliver. "Contemporary poetry and classics." In Classics in Progress. British Academy, 2006. http://dx.doi.org/10.5871/bacad/9780197263235.003.0001.

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This chapter looks at the here and now and the unselfconscious use of Greek and Latin writers by contemporary British and Irish poets. In 1973 an enterprising garland-maker collected together some 850 translations from The Greek Anthology. Most of the versions by the fifty or so contributors were specially commissioned, and they included some excellent epigrams, some by poets already quite well known, including Fleur Adcock, Tony Harrison, Peter Levi, Edwin Morgan and Peter Porter. This discussion states that this volume marks a transition, from an age when a project like this had been primarily the preserve of scholars, and when classical poetry was predominantly the preserve of the few, to the present age when it has been opened up to a wide range of creative artists.
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Bishop, Caroline. "Cicero." In Cicero, Greek Learning, and the Making of a Roman Classic, 259–300. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198829423.003.0007.

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This chapter investigates Cicero’s desire to enshrine himself as a classic from a different perspective than the rest of the book. It analyses Cicero’s appropriation not of a classical Greek figure but of himself, by examining his self-quotation of his earlier poetry (primarily the Aratea) within his late philosophical dialogues De Natura Deorum and De Divinatione. While Cicero likely found the Greek source for his poem, Aratus, quoted within the Greek philosophical works he used as sources for these dialogues, quoting his own poetry obviously carried a different charge. The chapter concludes that by staging the reading of his earlier works within these dialogues, Cicero was modelling the proper way to read his corpus: namely, as a set of works every bit as authoritative as the Greek classics he had adapted throughout his literary career.
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Harrison, Stephen, and Fiona Macintosh. "Introduction." In Seamus Heaney and the Classics, 1–13. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780198805656.003.0001.

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Abstract:
The recent death of Seamus Heaney is an appropriate point to honour the great Irish poet’s major contribution to classical reception in modern poetry in English; this is the first volume to be dedicated to that subject, though occasional essays have appeared in the past. The volume comprises literary criticism by scholars of classical reception and literature in English, from both Classics and English, and has some input from critics who are also poets and from theatre practitioners on their interpretations and productions of Heaney’s versions of Greek drama; it combines well-known names with some early-career contributors, and friends and collaborators of Heaney with those who admired him from afar. The papers focus on two main areas: Heaney’s fascination with Greek drama and myth, shown primarily in his two Sophoclean versions but also in his engagement in other poems with Hesiod, with Aeschylus’ Agamemnon and with myths such as that of Antaeus, and his interest in Latin poetry, primarily in Virgil but also in Horace; a version of an Horatian ode was famously the vehicle of Heaney’s comment on 11 September 2001 in ‘Anything Can Happen’ (District and Circle, 2006).
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