![]() ![]() ![]() For example, one might profitably compare the culture wars of both milieux (on those of classics see Adler 2016) and the battle-lines drawn over the formation of canons. With this in mind, my paper offers a broad take on “Popular Classics” and examines how pop culture - as a culture, with a full array of (un)written codes, roles, aesthetics, trends, and fetishes - resonates with the culture of classical studies. Moreover, such opportunities are in themselves examples of how the study of popular culture can benefit from the study of classics, and vice versa. As my fellow panelists know, there is no shortage of opportunities for classical scholars to explicate how pop-culture phenomenon “Ω” resonates with ancient-world phenomenon “A” (and all points in between or in parallel or ad lib.…). Matt Hills, Foreword: Understanding Fandomįor decades popular culture has furnished classicists with abundant material for discussion and study, from screen media (film, television, video games), to literature (novels, comics), to music and more. Academics strive to see things and theories anew, while fans often work on re-imagining their beloved objects. Matthew Wright, Prologue: The Lost Plays of Greek Tragedy, Volume I Fandom and academia are curiously alike: both centrally involve processes of re-imagination. Part of the appeal lies precisely in the mixture of closeness and distance, reality and imagination, longing and unattainability. ![]() Textual Poachers: Scholars, Fans, and Fragments Thinking about lost texts and reading fragments is very like being in a classical land and standing among the ruins of an ancient site: we can almost perceive what it used to be like in its original state, but not quite. ![]()
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