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Agamemnon is the first of the three plays within the Oresteia trilogy and is considered to be one of Aeschylus' greatest works. This collection of 12 essays, written by prominent international academics, brings together a wide range of topics surrounding Agamemnon from its relationship with ancient myth and ritual to its modern reception. There is a diverse array of discussion on the salient themes of murder, choice and divine agency. Other essays also offer new approaches to understanding the notions of wealth and the natural world which imbue the play, as well as a study of the philosophical and moral questions of choice and revenge. Arguments are contextualized in terms of performance, history and society, discussing what the play meant to ancient audiences and how it is now received in the modern theatre. Intended for readers ranging from school students and undergraduates to teachers and those interested in drama (including practitioners), this volume includes a performer-friendly and accessible English translation by David Stuttard.
Agamemnon is the first of the three plays within the Oresteia trilogy and is considered to be one of Aeschylus' greatest works. This collection of 12 essays, written by prominent international academics, brings together a wide range of topics surrounding Agamemnon from its relationship with ancient myth and ritual to its modern reception. There is a diverse array of discussion on the salient themes of murder, choice and divine agency. Other essays also offer new approaches to understanding the notions of wealth and the natural world which imbue the play, as well as a study of the philosophical and moral questions of choice and revenge. Arguments are contextualized in terms of performance, history and society, discussing what the play meant to ancient audiences and how it is now received in the modern theatre. Intended for readers ranging from school students and undergraduates to teachers and those interested in drama (including practitioners), this volume includes a performer-friendly and accessible English translation by David Stuttard.
The sense of difficulty, and indeed of awe, with which a scholar approaches the task of translating the Agamemnon depends directly on its greatness as poetry. It is in part a matter of diction. The language of Aeschylus is an extraordinary thing, the syntax stiff and simple, the vocabulary obscure, unexpected, and steeped in splendour. Its peculiarities cannot be disregarded, or the translation will be false in character. Yet not Milton himself could produce in English the same great music, and a translator who should strive ambitiously to represent the complex effect of the original would clog his own powers of expression and strain his instrument to breaking. But, apart from the diction in this narrower sense, there is a quality of atmosphere surrounding the Agamemnon which seems almost to defy reproduction in another setting, because it depends in large measure on the position of the play in the historical development of Greek literature.
Read the Bldg Blog interview with Mary Beard about the Wonders of the World series(Part I and Part II) Mycenae, the fabled city of Homer's King Agamemnon, still stands in a remote corner of mainland Greece. Revered in antiquity as the pagan world's most tangible connection to the heroes of the Trojan War, Mycenae leapt into the headlines in the late nineteenth century when Heinrich Schliemann announced that he had opened the Tomb of Agamemnon and found the body of the hero smothered in gold treasure. Now Mycenae is one of the most haunting and impressive archaeological sites in Europe, visited by hundreds of thousands of tourists every year. From Homer to Himmler, from Thucydides to Freud, Mycenae has occupied a singular place in the western imagination. As the backdrop to one of the most famous military campaigns of all time, Agamemnon's city has served for generation after generation as a symbol of the human appetite for war. As an archaeological site, it has given its name to the splendors of one of Europe's earliest civilizations: the Mycenaean Age. In this book, historian of science Cathy Gere tells the story of these extraordinary ruins--from the Cult of the Hero that sprung up in the shadow of the great burned walls in the eighth century bc, to the time after Schliemann's excavations when the Homeric warriors were resurrected to play their part in the political tragedies of the twentieth century.
The Agamemnon is the first play of the Oresteia trilogy, which won Aeschylus a first prize in 458 BCE. It presents the return of Agamemnon to his home in Argos after the fall of Troy, as his victorious homecoming soon gives way to the horrors of an ancient curse and the consequences of vengeance. With its accounts of war, sacrifice, confessions, prophecy, and prayer, this tragic drama begins both a brutal and compassionate journey toward redefining justice. Through the use of syllabic verse, this new version maintains an organic link with the original Greek text, while recreating the music of poetry in contemporary speech for reading and performance.
The sense of difficulty, and indeed of awe, with which a scholar approaches the task of translating the Agamemnon depends directly on its greatness as poetry. It is in part a matter of diction. The language of Aeschylus is an extraordinary thing, the syntax stiff and simple, the vocabulary obscure, unexpected, and steeped in splendour. Its peculiarities cannot be disregarded, or the translation will be false in character.