Reception studies focus on how the ancient world has been received since antiquity.
A Middle-English poem takes the ancient Greek myth of Orpheus and Eurydice, gives it a contemporary, medieval setting, makes Orpheus a chivalrous king, and provides the story with a surprisingly happy ending.
The Halo series of games are set in the 26th century and focus on the struggle between Earth and various opposing alien factions, such as the “Covenant”. While set in the future, the series takes obvious inspiration from the past.
Assassin’s Creed: Origins is a game developed and published by Ubisoft that is set in Ptolemaic Egypt around the time of Cleopatra’s accession to the throne, with the player controlling Bayek of Siwa.
A wealth of stories sprang up around the figure of Alexander the Great. One of these stories involved the Macedonian conqueror’s exploration of the world beneath the sea.
According to the Prose Edda, attributed to the Icelandic scholar Snorri Sturluson (1179-1241), the Norse gods were foreigners. They had made the trek northwards and westwards from their original home in Anatolia: the ancient city of Troy.
Like Rick Riordan’s books for kids, the Broadway musical Hadestown has recaptured the power of Greek mythology for adults. The longevity of myth is shown through the strength of the romantic relationships between Orpheus and Eurydice, and Hades and Persephone.
For decades, archaeologists have been trying to create meaningful engagement with stakeholder communities. The continued development of the internet has provided new and diverse opportunities for participation, but also a variety of new hurdles.
Many people may be surprised by the role the fascist leader Benito Mussolini played in conserving Roman monuments in the twentieth century CE. Alannah Campbell investigates how his regime used these monuments, which portrayed the ideals of ancient Rome, to recreate Italian supremacy in the Mediterranean two thousand years later.
Our understanding of ethnic diversity within the classical world owes much to how museums have curated their Greco-Roman antiquities. These collections were strongly influenced by the interests and values of the original collectors themselves, many of whom were antiquarians living and working in the eighteenth and nineteenth centuries. This article raises the question of whether their traditions have had an impact on how we understand and curate Black bodies in Greco-Roman galleries today.
Why would nineteenth-century abolitionists be attracted to the work of slave-owning leaders in ancient Greece and Rome? The answer shows us how using difficult histories can help fuel moral movements.