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Greek tragedy, the fountainhead of all western drama, is widely read by students in a variety of disciplines. Segal here presents twenty-nine of the finest modern essays on the plays of Aeschylus, Sophocles, and Euripides. All Greek has been translated, but the original footnotes have been retained. Contributors include Anne Burnett, E.R. Dodds, Bernard M.W. Knox, Hugh Lloyd-Jones, Karl Reinhardt, Jacqueline de Romilly, Bruno Snell, Jean-Pierre Vernant and Cedric Whitman.
The study of ancient Greek religion has been excitingly renewed in the last thirty years. Key areas of interest have been: the relationship between religion and politics; new and unexpected perspectives opened up by archaeological finds; the symbiosis between myth and ritual; the role of gender differences in the practice and perception of religion; conceptual problems raised by the very notion of "religion." This volume gathers together challenging papers by many of the most innovative participants in this renewal. Almost all the articles have been revised by their authors and/or provided with Addenda, to take account of the most recent scholarship. One article has been translated specifically for this collection; another is for the first time provided with illustrations. No single school or style of approach is privileged: the aim is to illustrate a range of possible methods which may be adopted in the investigation of this endlessly fascinating material. The volume also contains an important introductory essay by Richard Buxton.
Written by one of the best-known interpreters of classical literature today, Sophocles and the Language of Tragedy presents a revolutionary take on the work of this great classical playwright and on how our understanding of tragedy has been shaped by our literary past. Simon Goldhill sheds new light on Sophocles' distinctive brilliance as a dramatist, illuminating such aspects of his work as his manipulation of irony, his construction of dialogue, and his deployment of the actors and the chorus. Goldhill also investigates how nineteenth-century critics like Hegel, Nietzsche, and Wagner developed a specific understanding of tragedy, one that has shaped our current approach to the genre. Finally, Goldhill addresses one of the foundational questions of literary criticism: how historically self-conscious should a reading of Greek tragedy be? The result is an invigorating and exciting new interpretation of the most canonical of Western authors.
Greek Tragedy on Screen considers a wide range of films which engage openly with narrative and performative aspects of Greek tragedy. This volume situates these films within the context of on-going debates in film criticism and reception theory in relation to theoretical or critical readings of tragedy in contemporary culture. Michelakis argues that film adaptations of Greek tragedy need to be placed between the promises of cinema for a radical popular culture, and the divergent cultural practices and realities of commercial films, art-house films, silent cinema, and films for television, home video, and DVD. In an age where the boundaries between art and other forms of cultural production are constantly intersected and reconfigured, the appeal of Greek tragedy for the screen needs to be related to the longing it triggers for origins and authenticity, as well as to the many uncertainties, such as homelessness, violence, and loss of identity, with which it engages. The films discussed include not only critically recognized films by directors such Michael Cacoyannis, Jules Dassin, and Pier Paolo Pasolini, but also more recent films by Woody Allen, Tony Harrison, Werner Herzog, and Lars von Trier. Moreover, it also considers earlier and largely neglected films of cinematic traditions which lie outside Hollywood.
"The book argues that rediscovered ancient Greek plays exerted a powerful and uncharted influence on sixteenth-century England's dramatic landscape, not only in academic and aristocratic settings, but also at the heart of the developing commercial theaters."--Introduction, p. 2.
This book is an advanced critical introduction to Greek tragedy. It is written specifically for the reader who does not know Greek and who may be unfamiliar with the context of the Athenian drama festival but who nevertheless wants to appreciate the plays in all their complexity. Simon Goldhill aims to combine the best contemporary scholarly criticism in classics with a wide knowledge of modern literary studies in other fields. He discusses the masterpieces of Athenian drama in the light of contemporary critical controversies in such a way as to enable the student or scholar not only to understand and appreciate the texts of the most commonly read plays, but also to evaluate and utilize the range of approaches to the problems of ancient drama. This revised edition contains a substantial new Introduction which engages with critical and scholarly developments in Greek tragedy since the original publication.
A collection of essays that brings new insight to the question of the continuing, and inexhaustible, fascination of Athenian tragedy of the fifth century BCE. There is particular reference to the visual - the myriad ways in which tragic texts are (re)interpreted, (re)appropriated, and (re)visualized through verbal and artistic description.
Oxford Readings in Greek Lyric Poetry contains 17 studies on Greek Lyric, Elegiac, and Iambic poetry by leading international academics drawn from the last three decades, 3 of which are translated here for the first time. Ian Rutherford has written an introduction surveying the scholarship in the field.
This work brings together Richard Buxton's studies of Greek mythology and Greek tragedy, focusing especially on the interrelationship between the two. Situating and contextualising topics and themes within the world of ancient Greece, he traces the intricate variations and retellings which they underwent in Greek antiquity.
This anthology is a 'must' for all serious students of Aristophanes. It includes in one volume sixteen of the most important contributions to the study of the only surviving author of Greek Attic comedy who has left us more than fragments.