This study examines the reception of Cleopatra from the beginning of the 20th century to the present day as it has been reflected in popular culture in the United States of America. Daugherty provides a broad overview of the influence of the Egyptian queen by looking at her presence in film, novels, comics, cartoons, TV shows, music, advertising and toys. The aim of the book is to show the different ways in which the figure of Cleopatra was able to reach a large and non-elite audience. Furthermore, Daugherty makes a study of the reception of Cleopatra during her own lifetime. He begins by looking at her portrayal in the vicious propaganda campaign waged by Octavian against his rival Marc Antony. The consequence was that Cleopatra was left with a tarnished reputation after the civil war. Daugherty's examination of both the historical and contemporary reception of Cleopatra shows the enduring legacy of one of history's most remarkable queens.

In a time of acute crisis when our societies face a complex series of challenges (race, gender, inclusivity, changing pedagogical needs and a global pandemic) we urgently need to re-access the nature of our engagement with the Classical World. This edited collection argues that we need to discover new ways to draw on our discipline and the material it studies to engage in meaningful ways with these new academic and societal challenges. The chapters included in the collection interrogate the very processes of reception and continue the work of destabilising the concept of a pure source text or point of origin. Our aim is to break through the boundaries that still divide our ancient texts and material culture from their reception, and interpretive communities. Our contributors engage with these questions theoretically and/or through the close examination of cultural artefacts. They problematise the concept of a Western, elitist canon and actively push the geographical boundaries of reception as both a local and a global phenomenon. Individually and cumulatively, they actively engage with the question of how to marshal the classical past in our efforts to respond to the challenges of our mutable contemporary world.

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.

This volume examines the influence that Pompeii and, to a lesser extent, Herculaneum had on the visual and performing arts in Spain and countries across South America. Covering topics from architecture, painting and decorative arts to theatre, dance and photography, the reader will gain insight into the reception of classical antiquity through the analysis of the close cultural ties between both sides of the Atlantic, in the past and the present. Each contribution has been written by a specialist researcher participating in the project, 'The Reception and Influence of Pompeii and Herculaneum in Spain and Ibero-America', funded by the Spanish Ministry of Science and Innovation (PGC2018-093509-B-I00 Ministry of Science and Innovation/AEI/ERDF/EU). Pompeii in the Visual and Performing Arts begins by examining the influence of Pompeiian architecture in Spain in paintings that depict scenes inspired by Roman scenes and also buildings modelled on those of Pompeii. Next, the influence of Pompeii crosses the Atlantic to Mexico with a study of the archaeological site's influence on the visual and performing arts. An exploration of the elitist use of the ancient past in architecture is seen in Chilean architecture, which leads onto an investigation of the new art styles that emerged in the 19th century. Later chapters look into the influence of the ancient frescoes and the use of modern plaster casts of statues. The final chapters are devoted to comics and photography, which also make a study of the places in Latin America nicknamed 'Pompeii' in the 20th and 21st centuries.

This study examines the reception of Cleopatra from the beginning of the 20th century to the present day as it has been reflected in popular culture in the United States of America. Daugherty provides a broad overview of the influence of the Egyptian queen by looking at her presence in film, novels, comics, cartoons, TV shows, music, advertising and toys. The aim of the book is to show the different ways in which the figure of Cleopatra was able to reach a large and non-elite audience. Furthermore, Daugherty makes a study of the reception of Cleopatra during her own lifetime. He begins by looking at her portrayal in the vicious propaganda campaign waged by Octavian against his rival Marc Antony. The consequence was that Cleopatra was left with a tarnished reputation after the civil war. Daugherty's examination of both the historical and contemporary reception of Cleopatra shows the enduring legacy of one of history's most remarkable queens.

Princess Cleopatra, the third (and favorite) daughter of King Ptolemy XII, comes of age in ancient Egypt, accumulating power and discovering love.

New media and its enormous diffusion in the last decades of the 20th century and up to the present has greatly increased and diversified the reception of Egyptian themes and motifs and Egyptian influence in various cultural spheres. This book seeks to provide new evidence of this interdisciplinarity between Egyptology and popular culture.

Bestselling novelist Margaret George brings to life the glittering kingdom of Cleopatra, Queen of the Nile, in this lush, sweeping, and richly detailed saga, the basis for the Cleopatra TV mini-series. Told in Cleopatra's own voice, The Memoirs of Cleopatra is a mesmerizing tale of ambition, passion, and betrayal in the ancient Egyptian world, which begins when the twenty-year-old queen seeks out the most powerful man in the world, Julius Caesar, and does not end until, having survived the assassination of Caesar and the defeat of the second man she loves, Marc Antony, she plots her own death rather than be paraded in triumph through the streets of Rome. Most of all, in its richness and authenticity, it is an irresistible story that reveals why Margaret George's work has been widely acclaimed as "the best kind of historical novel, one the reader can't wait to get lost in." (San Francisco Chronicle).

Based on a conference held at the University of Bristol in September, 2010.

This collection of essays responds to the recent surge of interest in popular television in Eastern Europe. This is a region where television's transformation has been especially spectacular, shifting from a state-controlled broadcast system delivering national, regional, and heavily filtered Western programming to a deregulated, multi-platform, transnational system delivering predominantly American and Western European entertainment programming. Consequently, the nations of Eastern Europe provide opportunities to examine the complex interactions among economic and funding systems, regulatory policies, globalization, imperialism, popular culture, and cultural identity.This collection will be the first volume to gather the best writing, by scholars across and outside the region, on socialist and postsocialist entertainment television as a medium, technology, and institution.