"This is the first book to deal exclusively with ludic interactions with classical antiquity - an understudied research area within classical reception studies - that can shed light on current processes of construction and appropriation of the Greco-Roman world. Classical antiquity has, for many years, been sold as a product and consumed in a wide variety of forms of entertainment. As a result, games, playing and playful experiences are a privileged space for the reception of antiquity"--
This is the first book to deal exclusively with ludic interactions with classical antiquity – an understudied research area within classical reception studies – that can shed light on current processes of construction and appropriation of the Greco-Roman world. Classical antiquity has, for many years, been sold as a product and consumed in a wide variety of forms of entertainment. As a result, games, playing and playful experiences are a privileged space for the reception of antiquity. Through the medium of games, players, performers and audiences are put into direct contact with the classical past, and encouraged to experience it in a participative, creative and subjective fashion.
The chapters in this volume, written by scholars and practitioners, cover a variety of topics and cultural artefacts including toys, board games and video games, as well as immersive experiences such as museums, theme parks and toga parties. The contributors tackle contemporary ludic practices and several papers establish a dialogue between artists and scholars, contrasting and harmonising their different approaches to the role of playfulness. Other chapters explore the educational potential of these manifestations, or their mediating role in shaping our conceptions of ancient Greece and Rome. Altogether, this edited collection is the first to offer a comprehensive overview of the ways we can play with antiquity.
Arvustused
A brilliant and playful demonstration of how to organise, focus and contextualise these important individual contributions from a remarkable conference. -- Gregory N. Daugherty, Professor Emeritus of Classics Randolph-Macon College, USA One of the successes of this edited volume is the wide variety of specialities displayed and insights into varied areas of research. Extensive bibliographies after each entry will guide the novice reader to new possibilities. In the concluding Coda, Juliette Harrisson reiterates that a playful reception of the ancient world is an active one, not a passive one (261). Playing in the ancient world not only creates deeper connections with the source material, it bathes it in a new light. * Classical Journal *
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Offers a wide-ranging overview of the reception of Greco-Roman antiquity as a ludic process.
Introduction: Thinking About Playful Classics - A Beginners' Guide,
Martin Lindner (University of Göttingen, Germany)
Section I: Toys and Games
1. Playing with Caesar and Cleopatra Anticising Play Figures and Historical
Thinking of (Young) Children, Anabelle Thurn (University of Education
Freiburg, Germany)
2. Card Games and Antiquity in Spain, Antonio Duplá Ansuategui (University of
the Basque Country, Spain)
3. Designing Archaeologists vs Treasure Hunters Just Another Board Game?,
Irina Vagalinska (Independent Scholar, Bulgaria) and Lyudmil Vagalinski
(National Archaeological Institute and Museum, Bulgaria)
Section II: Virtual Realities
4. The Playing Field The Study of Classical Antiquity in Video Games and
the Database Project Paizomen, Alexander Vandewalle (University of Antwerp
and Ghent University, Belgium)
5. Lets Analyse Ancient Greece Digital Game-based Learning and
Assassins Creed Odyssey, Kai Matuszkiewicz (Marburg University, Germany)
and Kai Ruffing (Kassel University, Germany)
Section III: Playing on Stage
6. Repraesentatio in Musica: Researches about Antiquity in French Baroque
Music and its Impact on Todays Performance Practice, Antonius Adamske
(Independent Scholar, Germany)
7. Thats Greek to Me Disco Life, Game-shows, and Queer Intimacies in
Richard Moves Achilles Heels, Zoa Alonso Fernández (Autonomous University
of Madrid, Spain)
8. Playing Classical Drama Young Theatre Festivals and the Non-school
of Ravenna, Martina Treu (IULM University, Milan) and non scuola (Independent
Scholar, Italy)
Section IV: Immersive Antiquities
9. Toga parties Ludic Re-enactments of a Lubricious Rome, Luis Unceta Gómez
(Autonomous University of Madrid, Spain)
10. Curses, Mummies, and Colonial Style Archaeology in the Theme Park,
Filippo Carlà-Uhink (Potsdam University, Germany) and Florian Freitag
(University of Duisburg-Essen, Germany)
11. Classical Reception in Street Art Performance, Anna Socha (University of
Liverpool, UK) and PichiAvo (Independent Scholar, Spain)
Section V: National Traditions
12. Forges Vision of the Roman Conquest of the Iberian Peninsula, Pepa
Castillo (La Rioja University, Spain)
13. Playing with Greek Mythology in Russian Animation, Chiara Sulprizio
(Vanderbilt University, USA)
14. Playground WeChat Western Classics in Chinese Social Media, Sven
Günther (Changchun University, China)
Coda: The Interaction of Play and Other Receptions, Juliette Harrisson
(Birmingham Newman University, UK)
Notes
Bibliography
Index
Juliette Harrisson is Senior Lecturer in Ancient History at Birmingham Newman University, UK.
Martin Lindner is Lecturer in Ancient History and Curator of the Tom Stern Collection film archive at the University of Göttingen, Germany.
Luis Unceta Gómez is Lecturer in Latin Philology at the Autonomous University of Madrid, Spain.
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