By Christine Lee, Neville Morley
A guide to the Reception of Thucydides deals a useful consultant to the reception of Thucydides and his paintings. via unique essays by means of demonstrated and rising students, this instruction manual explores the most strands of reception and the main salient contexts within which Thucydides has been learn and appropriated.
Thucydides’ impression has unfold throughout many disciplines and sub-disciplines, together with historiography, political idea, diplomacy and strategic experiences. Essays discover those domain names in addition to different literary, cultural and historic contexts; individuals have interaction with numerous extant interpretations whereas constructing new ways to Thucydides’ paintings. Chapters specialise in varied points of Thucydides’ writing; his function as a historian and his contribution to the improvement of historiography; his prestige as a political and strategic philosopher; the impression of educational and non-academic readings of The background; and extra Thucydidean issues. The instruction manual concludes with own reflections by way of eminent students at the value and perennial value of Thucydides’ paintings for this new release and for generations to return.
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Additional resources for A Handbook to the Reception of Thucydides
Lat. 1801; partial edition in Pade 2003: 121–2) I believe that Valla’s preface reveals him as an exponent of contemporary humanist theory of translation. As I have argued elsewhere, the skilful transformation not only of words and phrases, but also of style and literary form into the idioms of the target culture formed a very important characteristic of humanist translation (Pade 2008, 2011). The most eloquent exposé of this is found in Leonardo Bruni’s treatise De interpretatione recta (On correct translation), and during the fifteenth century we increasingly see that in the attempt to render the style of the Greek originals, the translator would not only use classical Latin idioms and syntax, he would also imitate a Latin text written in the same genre as the Greek original.
But he is as far removed from the latter’s grandeur as Thersites differs from Achilles in beauty and excellence. (Griggio 1986: 50) Other fifteenth-century humanists who regarded Thucydides as a model include Poggio Bracciolini, who planned to write the history of Venice and imitate 28 Marianne Pade Xenophon and Thucydides (Cochrane 1981: 29), and Bernardo Giustinian, who did write a history of Venice in a somewhat Thucydidean manner (Cochrane 1981: 80; King 1986: 381–3). Earlier scholarship doubted that Thucydides influenced Niccolò Machiavelli, as there are very few actual references in his works (Sandys 1908: 89).
The double “modeling” (construction of a historiographical model and a literary model) which we have tried to describe has doubtless helped in distinguishing the two aspects of Thucydides’ identity (historian and writer), which each had its own life. Furthermore, throughout the imperial period and into the Byzantine era his work was used in various ways, usually independent from one another: allusion to his methods, recycling of historical “matter,” resumption of his narrative framework and psychological analyses, stylistic pastiche, and more or less literal quotations, deor re-contextualized.
A Handbook to the Reception of Thucydides by Christine Lee, Neville Morley