Simon Goldhill throws down the gauntlet to the entire field of classical reception studies in his new book Victorian Culture and Classical Antiquity. This flourishing sub-discipline of Classics has, in the last two decades in particular, explored a variety of theoretical and methodological approaches.
In his early 20th-century anti-clerical novel La Catedral, Vicente Blasco Ibáñez follows his protagonist into Toledo Cathedral’s Mozarabic Chapel for the daily celebration of what Richard Ford, in the 19th century, called ‘this peculiar ritual’: ‘As Gabriel listened to the monotonous singing of the Mozarabic priests he remembered the quarrels during the time of Alfonso VI between the
As L. P. Hartley famously remarked in The Go-Between (1953), ‘The past is a foreign country: they do things differently there’. This was more prescient than he knew, for most of the English-speaking world now seems to view the past not merely as foreign but as totally alien – diverting at times, perhaps, but utterly irrelevant to them and their lives.
Useful Cinema begins on the perfect point, with the observation that films today ‘appear everywhere’, from ‘iPhone to Imax, from blog inserts to Jumbotrons’, so ‘becoming integral to our experience of institutional and everyday life’.
One can hardly imagine that several decades ago the concept of spolia did not yet indicate a field of widespread research in the history of architecture, art and archaeology. The title of this volume with 12 essays and a fascinating introduction, points to this change in research focus, since the value of reuse of objects and materials has not always been recognized.
As Jan Rüger suggested in his 2011 review article ‘Revisiting the Anglo-German antagonism’, since 2000 almost every aspect of the history of Anglo-German relations has been reassessed and re-examined as a story not of increasing and inevitable antagonism, but of a much more complex process.
Although photography was introduced to India soon after its 1839 European invention, it was not until 1857 that the new technology proliferated in the subcontinent. In Zahid R. Chaudhary’s heavily illustrated study, focused on colonial photographic practices following the Sepoy Revolt by Indian recruits (1857–8), this proliferation is central.
Karen Overbey’s monograph is undoubtedly a welcome addition to the weighty collection of (predominantly antiquarian) archaeo- / art-historical studies focusing on medieval Irish relics and reliquaries, a healthy proportion of which is judiciously consolidated and summarised throughout the book.
‘The Sitwells belong to the history of publicity rather than of poetry’, famously pronounced F. R. Leavis in New Bearings in English Poetry (1932).
The work of Mary Carruthers is well known to students of medieval culture. Her Book of Memory charted discussions of memory from antiquity to the late Middle Ages, treading in the footsteps of Frances Yates in arguing that memory was not just another concept in the minds of medieval writers, but a conceptual motor for the organisation and motivation of thought.