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Studia Historica: Historia Antigua 384 RESEÑAS UNCETA GÓMEZ, Luis y SÁNCHEZ PÉREZ, Carlos Sánchez Pérez –recientemente Carlos (eds.): En los márgenes de doctorado también por la UAM con Roma. La Antigüedad romana en la una tesis sobre la recepción de los tex- cultura de masas contemporánea. tos herméticos en la ciencia ficción y la Madrid: UAM Ediciones / Los Libros de fantasía (2019). la Catarata, 2019, 302 pp. [ISBN: 978- Se trata de una monografía colec- 84-9097-869-6]. tiva compuesta por trece capítulos o contribuciones, divididas, a su vez, en La estatua del más célebre de todos cinco bloques temáticos. Estos están los romanos, Julio César, en portada. precedidos por una breve presentación Solo que en esta ocasión porta algo in- a cargo de los editores en la que inci- usual en su mano: una moderna copa den en que el enfoque del libro va en de alcohol ¡con su aceituna y todo! consonancia con los presupuestos me- Aunque menos visible, su thoracata todológicos propios de la, relativamen- está adornada con algunos grabados en te nueva, disciplina de la Recepción forma de símbolos e inscripciones que Clásica. En este sentido, frente a lo que nos trasportan igualmente al mundo ocurría con los estudios de Tradición contemporáneo1. Perfecta ilustración de Clásica, «interesan ahora las formas de la cubierta en relación al tema a tratar; apropiación del referente clásico y las una sugerente portada para un libro no razones que las animan, más que la menos sugerente. mera constatación de la fidelidad hacia La obra que voy a reseñar es re- un modelo venerable» (p. 9). Es preci- sultado de la actividad investigado- samente al calor de esa disciplina de la ra del Proyecto «Marginalia Classica Recepción Clásica –que según los edi- Hodierna. Tradición y Recepción tores no sería «en sí misma una discipli- na sobre la Antigüedad grecorromana» Clásica en la cultura de masas con- (p. 10)– donde se ha legitimado el temporánea», dirigido por el Dr. Luis estudio de manifestaciones culturales Unceta Gómez y dedicado «al análisis pertenecientes a la «cultura de masas» de la presencia de la Antigüedad clá- contemporánea. Los diversos estudios sica grecolatina en las distintas ma- de caso que componen la obra son nifestaciones de la cultura popular reflejo de esa variedad de formatos de contemporánea» (http://marginalia- amplia difusión popular a través de los classica.es/). Precisamente, ese es el cuales se ha reelaborado, apropiado tema que aborda el libro, aunque aco- y reinventado la antigüedad romana. tado, en esta ocasión, a la recepción Como bien señalan los editores, podían del mundo romano en particular. Los haberse tratado otras facetas de ese editores del volumen colectivo, ambos fenómeno, pero, sin duda alguna, los filólogos clásicos, son el mencionado estudios seleccionados son representa- profesor de la UAM Luis Unceta –re- tivos del panorama en su conjunto. conocido experto tanto en lingüística La primera parte, que consta úni- latina como en Recepción Clásica– y camente de un capítulo (pp. 17-35), hace las veces de introducción gené- 1. Se trata del cuadro A message from rica al tema planteado en el título del our sponsors (2014) de Matthew Quick. libro, es decir, «el papel de Roma en Ediciones Universidad de Salamanca / CC BY-NC-ND Stud. hist., H.ª antig., 38, 2020, pp. 384-391 RESEÑAS 385 la imaginación popular». Con todo, antigua Roma como una «pornotopía»). esa contribución inicial, firmada por el Propone, en definitiva, un modelo in- primero de los editores, establece un tegrador pensado para comprender la marco teórico excelente para el con- complejidad de cualquier nueva apro- junto de la monografía y que además ximación a lo clásico que nos lleve a es válido no solo para el estudio de «repensar la conceptualización que te- la recepción de Roma sino para el de nemos en el mundo contemporáneo cualquier aspecto de la Antigüedad de la propia Antigüedad y sus relacio- en su conjunto. Parte de lo que se ha nes con el presente» (p. 28-29). dado en llamar «posmodernidad» para El segundo bloque, bajo el epí- plantear cómo ese complejo fenómeno grafe «Guerras e imperialismo», reco- cultural «ha propiciado unas dinámicas ge cuatro contribuciones, empezando de apropiación de la Antigüedad clási- por la de Helena González-Vaquerizo ca singulares y, hasta cierto punto, in- (UAM) que aborda la imagen de Roma éditas» (p. 19). En ese nuevo contexto en el género musical denominado marcado por la desaparición de una metal2; un tema inédito en el ámbito frontera definida entra la alta cultura y hispano como demuestra el listado la cultura popular o de masas, por la bibliográfico final del capítulo donde preeminencia de las nuevas manifesta- solo se recogen trabajos en inglés –y ciones artísticas de tipo eminentemen- uno en italiano–3. En efecto, al menos te audiovisual y por el fenómeno de hasta donde sabemos, ningún estudio la «transmedialidad», el marco teórico previo se ha centrado exclusivamente de la Recepción Clásica ha obligado a repensar los Estudios Clásicos, legiti- mando el análisis de cualquier reelabo- 2. Acepción genérica empleada cons- ración del mundo antiguo. Cabe señalar cientemente por la autora para referirse que Unceta se desliga de un posiciona- tanto al heavy metal «clásico» como a los miento dicotómico que opone los tér- subgéneros del metal. minos «Recepción» frente a «Tradición», 3. Cabría añadir, en todo caso, la co- buscando una postura intermedia en la municación presentada en 2016 en la UPV/ EHU por Iker Magro Martínez: «El Mundo que ambas aproximaciones y sus pos- Clásico en el heavy metal» https://ehutb. tulados teóricos puedan ser comple- ehu.es/video/58c6733bf82b2b31328b457a. mentarios. Lo más interesante de esta Asimismo, el Dr. Magro firma uno de los introducción es la propuesta de un capítulos de una monografía colectiva edi- modelo interpretativo en el que distin- tada por dos investigadores que González- gue y ejemplifica a la perfección tres Vaquerizo cita con asiduidad –Fletcher y formas actuales de representación con- Umurhan– y que entendemos que no que- temporánea de la civilización romana: da recogida en la bibliografía del capítulo las recepciones mediadas (e. g. la serie reseñado debido a su reciente fecha de Plebs, voluntariamente anacrónica), publicación, que coincide con la del libro reseñado. Se trata de Classical Antiquity los influjos recíprocos (e. g. la escena in Heavy Metal Music (Bloomsbury, 2019), triunfal de Cómodo en Gladiator, que publicación que no hace sino confirmar el plantea un diálogo bidireccional entre interés y la vigencia actual por este tema pasado y presente) y el epítome como de estudio dentro de los Classical Reception representación del original (e. g. la Studies. Ediciones Universidad de Salamanca / CC BY-NC-ND Stud. hist., H.ª antig., 38, 2020, pp. 384-391 386 RESEÑAS en la recepción de Roma a través desarrollados a partir del videojuego de ese estilo musical, y la autora re- Rome: Total War, a saber, Iberia: Total suelve el tema con mucha solven- War y Europa Barbarorum; en su opi- cia. Valiéndose de la base de datos nión, dos buenos ejemplos de cómo Enciclopedia Metallum, se presentan conjugar jugabilidad y un alto grado resultados representativos de la dis- de veracidad histórica. En este senti- tribución por países y la evolución do, este capítulo, aunque interesante cronológica: Italia, Estados Unidos y desde el punto de vista del uso didác- Alemania son los países en las que más tico del videojuego en el aula, queda bandas y canciones heavys han bus- un tanto alejado de los debates y plan- cado inspiración en la antigua Roma, teamientos propios de un estudio de tratándose de un fenómeno que ha Recepción Clásica4. aumentado exponencialmente desde Por el contrario, la contribución de comienzos de XXI y especialmente en Juliette Harrison (Newman Unversity) la última década. Igualmente, desde y Martin Lindner (Georg-August- un punto de vista más interpretativo, Universität Göttingen), que cierra ese se plantean los temas más recurrentes segundo bloque, vuelve a entrar de asociados a Roma en las letras de las lleno en esa metodología propia de canciones: guerra, gloria y gladiadores, los Classical Reception Studies para en lo que se refiere al apogeo impe- abordar las alegorías basadas en la rial y temor, nostalgia, el motivo del Roma imperial en la famosa saga lite- incendio y el orgullo bárbaro en lo re- raria Mundodisco de Terry Pratchett. ferente a la caída del Imperio. En este Partiendo de una breve explicación sentido, se sugieren las motivaciones sobre el bagaje y las técnicas narrati- contemporáneas que promueven esas vas del escritor británico, así como de temáticas notablemente estereotipadas, las características más generales que aunque también eruditas en algunas definen el universo Mundodisco, los ocasiones: exaltación de ciertas iden- autores se centran en la recepción de tidades nacionales, apropiaciones neo- «la antigua Roma como parodia del «dolor fantasmático» británico provoca- fascistas, críticas antimperialistas, etc. do por la disolución del Imperio, así La siguiente contribución, «Video- como en el nacionalismo contempo- juegos de romanos: entre la realidad ráneo en el mundo anglosajón y fuera y la ficción», la firma Cristóbal Macías Villalobos (Universidad de Málaga), quien vuelve al clásico debate, al pa- 4. Es posible que la falta de una di- recer no del todo superado, en torno ferenciación clara entre los términos vera- a la fidelidad histórica o, empleando cidad histórica o «verismo» histórico y ve- su terminología, «verismo histórico». rosimilitud sea una de las limitaciones del En este caso, aplica ese análisis, más capítulo escrito por el Dr. Macías. La con- expositivo que interpretativo, a tres sulta del siguiente estudio podría ser útil para aclarar algunos de esos conceptos: videojuegos recientes ambientados ROLLINGER, Christian (2016): «Fantasmagoría en la antigüedad romana: Rome: Total de la guerra: estrategias de autenticidad, War (2003), Shadow of Rome (2005) y historicidad afectiva y guerra antigua en vi- Ryse: Son of Rome (2013).
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