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.
Playing with Caesar and Cleopatra: ‘Anticizing’ Play Figures and Historical Thinking in (Young) Children
págs. 21-39
Card Games and Antiquity in Spain: Some Examples
págs. 40-56
Designing Archaeologists vs Treasure Hunters: Just Another Board Game
págs. 57-60
The Playing Field: The Study of Classical Antiquity in Video Games and the Database Project Paizomen
págs. 67-88
Let’s Analyse Ancient Greece: Digital Game-Based Learning and Assassin’s Creed Odyssey
págs. 89-102
Repræsentatio in Musica: Antiquity in French Baroque Music and its Impact on Today’s Performance Practice
págs. 109-125
‘That’s Greek to me’: Disco Life, Game Shows and Queer Intimacies in Richard Move’s The Show (Achilles Heels)
págs. 126-140
Playing Classical Drama: ‘Young’ Theatre Festivals and the ‘non-school’ of Ravenna
págs. 141-154
Toga Parties: Ludic Re-enactments of a Lubricious Rome
págs. 161-174
Curses, Mummies and Colonial Style: Archaeology in the Theme Park
págs. 175-194
págs. 195-208
págs. 215-230
págs. 231-244
Playground Wechat?!: Frames of Western Classics in Chinese Social Media
págs. 245-258
págs. 261-268
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