Introduction: Thinking About Playful Classics - A Beginners' Guide, Martin Lindner (University of Göttingen, Germany)Section I: Toys and Games1. Playing with Caesar and Cleopatra – Anticising Play Figures and Historical Thinking of (Young) Children, Anabelle Thurn (University of Education Freiburg, Germany)2. Card Games and Antiquity in Spain, Antonio Duplá Ansuategui (University of the Basque Country, Spain)3. Designing “Archaeologists vs Treasure Hunters” – Just Another Board Game?, Irina Vagalinska (Independent Scholar, Bulgaria) and Lyudmil Vagalinski (National Archaeological Institute and Museum, Bulgaria)Section II: Virtual Realities4. The Playing Field – The Study of Classical Antiquity in Video Games and the Database Project “Paizomen”, Alexander Vandewalle (University of Antwerp and Ghent University, Belgium)5. “Let’s Analyse Ancient Greece” – Digital Game-based Learning and “Assassin’s Creed Odyssey”, Kai Matuszkiewicz (Marburg University, Germany) and Kai Ruffing (Kassel University, Germany)Section III: Playing on Stage6. Repraesentatio in Musica: Researches about Antiquity in French Baroque Music and its Impact on Today’s Performance Practice, Antonius Adamske (Independent Scholar, Germany)7. “That’s Greek to Me” – Disco Life, Game-shows, and Queer Intimacies in Richard Move’s “Achilles’ Heels”, Zoa Alonso Fernández (Autonomous University of Madrid, Spain)8. Playing Classical Drama – “Young” Theatre Festivals and the “Non-school” of Ravenna, Martina Treu (IULM University, Milan) and non scuola (Independent Scholar, Italy)Section IV: Immersive Antiquities9. Toga parties – Ludic Re-enactments of a Lubricious Rome, Luis Unceta Gómez (Autonomous University of Madrid, Spain)10. Curses, Mummies, and Colonial Style – Archaeology in the Theme Park, Filippo Carlà-Uhink (Potsdam University, Germany) and Florian Freitag (University of Duisburg-Essen, Germany)11. Classical Reception in Street Art Performance, Anna Socha (University of Liverpool, UK) and PichiAvo (Independent Scholar, Spain) Section V: National Traditions12. Forges’ Vision of the Roman Conquest of the Iberian Peninsula, Pepa Castillo (La Rioja University, Spain)13. Playing with Greek Mythology in Russian Animation, Chiara Sulprizio (Vanderbilt University, USA) 14. Playground “WeChat” – Western Classics in Chinese Social Media, Sven Günther (Changchun University, China)Coda: The Interaction of Play and Other Receptions, Juliette Harrisson (Birmingham Newman University, UK)Notes BibliographyIndex

This series broadens our understanding of the receptions of antiquity in the visual and performing arts. A particular focus is on the 20th and 21st centuries and on various media, such as films, comics, video games, advertising, digital media, design, fashion, music performances and theme parks, as well as on multi-, inter- and transmedial forms of reception, challenging traditional, and still very widespread, assumptions that distinguish ‘high’ from ‘popular culture’. While the focus of the series is placed on Mediterranean antiquity, it also considers the receptions of ancient times from all regions of global history. The series is the product of a continuous dialogue between scholars on the one side, and ‘producers’ of classical reception – painters, sculptors, photographers, architects and designers – on the other, who write about their mechanisms of appropriation of the ancient world. Through its broad range of topics and editorial forms, IMAGINES represents an established and internationally recognized publication platform for studies on how ancient cultures, people and events were and are represented and performed all over the world.