Books in the Classics after Antiquity series

This is a compelling account of Victorian Britain's troubled relationship with antiquity. Extraordinary characters - the virtuoso forger, the blundering general and the bitter prodigy - will engage scholars and general readers alike. This wide-ranging narrative breaks new ground in the fast-growing field of classical reception studies.

Argues that immigration politics is a central - but overlooked - object of inquiry in the democratic thought of classical Athens. Thinkers criticized democracy's strategic investments in nativism, the shifting boundaries of citizenship, and the precarious membership that a blood-based order effects for those eligible and ineligible to claim it.

This book explores the surprising versatility of Homer's epics of wandering and homecoming for the radical formal experiments and changing sociopolitical agendas of modernist writers responding to war, tyranny, censorship, and empire. Of interest to students and researchers interested in classical receptions, modernism, twentieth-century literature, and comparative literature.

Argues that immigration politics is a central - but overlooked - object of inquiry in the democratic thought of classical Athens. Thinkers criticized democracy's strategic investments in nativism, the shifting boundaries of citizenship, and the precarious membership that a blood-based order effects for those eligible and ineligible to claim it.

Dionysus after Nietzsche examines the way that The Birth of Tragedy (1872) by Friedrich Nietzsche irrevocably influenced twentieth-century literature and thought. Adam Lecznar argues that Nietzsche's Dionysus became a symbol of the irrational forces of culture that cannot be contained, and explores the presence of Nietzsche's Greeks in the diverse writings of Jane Harrison, D. H. Lawrence, Martin Heidegger, Richard Schechner and Wole Soyinka (amongst others). From Jane Harrison's controversial ideas about Greek religion in an anthropological modernity, to Wole Soyinka's reimagining of a postcolonial genre of tragedy, each of the writers under discussion used the Nietzschean vision of Greece to develop subversive discourses of temporality, identity, history and classicism. In this way, they all took up Nietzsche's call to disrupt pre-existing discourses of classical meaning and create new modes of thinking about the Classics that speak to the immediate concerns of the present.