Abstract

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Classics and the Uses of ReceptionJames Bradley WellsCharles Martindale and Richard F. Thomas, eds. Classics and the Uses of Reception. Classical Receptions. Malden: Blackwell, 2006. xiv + 335 pp. 20 black-and-white figs. Paper, $36.95.Passion and parrhesia characterize this collection of twenty-three essays on applications of reception theory and practice to classical studies. Charles Martindale and Richard F. Thomas originally conceived of this project as an invitation to "wider debate about the uses of reception within classics" (2). This volume is the product of an admirably collaborative process, which did not serve to put contributors on message with any particular ideological or theoretical stance but created a forum for sustained dialogue, a sort of salon whose doors are now open to broader participation. Classics and the Uses of Reception throws down challenges to conventional ways of thinking about texts, history, modes of perception, and styles of analysis; this willingness to take a stand gives the collection its passionate quality.Some authors speak to the capacity that reception has for enabling classics to join the fray of contemporary intellectual life with more commitment and to become more attractive to today's students. The essays are intensely self-reflexive and practice a confrontational parrhesia that dismantles assumptions, admits its faults, and prefers open-endedness to gift-wrapped conclusions. This book is a provocation, not a primer, even if there are many fine illustrations of what reception theory and practice look like—and it is not a point of entry for research on, say, pastoral poetry, Sophocles' Antigone, or the Venus de Milo. Prospective readers who hope to find here the footing necessary to make their own receptionalist forays will still need to read their Hans Robert Jauss and Wolfgang Iser, although many essays do describe the intellectual genealogy of reception, both in its theoretical dimensions and in terms of particular topics in classical studies. These topics are appealingly diverse.Diverse too—or divergent in this case?—are the rhetorical strategies of the essays in the collection. In addition to authors who conform to the generic parameters of the expository essay, some authors adopt an insistently centrifugal style that replicates the openendedness of the point of reception, the moment of interaction between a text and its interlocutor. I get that, but I had trouble with the essays that read like theory interloping. I use theory and savor the specificity [End Page 135] of definition, the hyperqualification of thought aspiring to exactitude sans simplicity for its own sake, and complex sentence structure that is a reflex of the ideas it conveys, so if I locate some of the essays in this collection on the spectrum of, at one end, stupefying displays of jargon, and, at the other, postmodern-cute, we are talking about the alienation of an interested reader. In what follows, I summarize, necessarily crudely, the contents of the twenty-three essays in Classics and the Uses of Reception.The first two essays, Martindale's "Introduction: Thinking Though Reception" (1–13) and William W. Batstone's "Provocation: The Point of Reception Theory" (14–20), preface the two sections of the book, "Part I: Reception in Theory" and "Part II: Studies in Reception." A core thread in Classics and the Uses of Reception is the problem of history, which Martindale weighs vis-à-vis reception specifically as it pertains to classics. In light of key tenets of reception theory—first, that meaning is situated but not instantiated and, second, that meaning is a product of the dialogue that emerges in the interface of two horizons of expectations, that of the classical text, broadly conceived to include all communicative media, and that of the reader—reception in classics offers the prospect of retooling how the discipline approaches history so that classicists might more rigorously disclose present dimensions of their encounters with antiquity. Batstone's essay addresses a danger to which virtually any methodology is susceptible: to command an analytical vista impervious to the hints—indeed, responsibility to acknowledge—that what we see has something to do with us. Easing over a palette of thinkers that includes Kristeva, Gadamer, Heidegger, Bakhtin, Lacan, and Freud, Batstone's discussion of subjectivity and...