Agamemnon in performance 458 BC to AD 2004 by Fiona Macintosh, Visit Amazon's Pantelis Michelakis Page,

By Fiona Macintosh, Visit Amazon's Pantelis Michelakis Page, search results, Learn about Author Central, Pantelis Michelakis, , Edith Hall, Oliver Taplin

Aeschylus' Agamemnon, the 1st play within the Oresteia trilogy, is among the so much influential theatrical texts within the worldwide canon. In functionality, translation, model, in addition to sung and danced interpretations, it's been usual within the Greek global and the Roman empire, and from the Renaissance to the modern level. it's been principal to the cultured and highbrow avant-garde in addition to to radical politics of all complexions and to feminist pondering. members to this interdisciplinary selection of eighteen essays on its functionality historical past contain classical students, theatre historians, and specialists in English and comparative literature. All Greek and Latin has been translated; the booklet is generously illustrated, and supplemented with the worthwhile study reduction of a chronological appendix of performances.

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The volume seeks to address not only students of Graeco-Roman drama but all those interested in the encounter between classical antiquity and the modern world. As far as its disciplinary identity is concerned, the contributors are a diverse group in terms of age, gender, academic aYliation, and geographical base. Twothirds are classicists (though with diVerent methodological allegiances), whereas the rest are based in departments of Comparative Literature, Theatre Studies, and English. This is a volume that, like the conference from which it originated, brings together scholars from both the Anglo-American world and from continental Europe.

293). 20 Pantelis Michelakis and universal truth, I have sought to emphasize the plural and provisional nature of the micro-narratives from which the larger pictures of the subject that we paint are inevitably made. Performance reception is an area of study which is still in its infancy, and not only in the Weld of Classics. We hope that this volume will play a small part in demonstrating how important a role this type of reception has to have in the continuous (re)production of the classical past.

That cunning ingenuity and sententiousness were foreign to tragedy (ôe äb ðÆíïFæªïí ŒïìłïðæåðÝò ôå ŒÆd ªíøìïºïªØŒeí IººüôæØïí ôBò ôæƪøäßÆò ™ªïýìåíïò) ’. But there is nothing disparaging about the phrasing on gno¯mai in §7, and it may be the scarcity in Aeschylus of gnomic sayings (in Euripidean style, viz. in quotable simple language and iambic trimeters) that accounts for his seeming (from our vantage point) to attract less notice in later times. ’23 If it means something more like ‘having the quality of an uncanny or supernatural phenomenon’ than ‘monstrous, scary’, which perhaps carries the implication ‘grotesque’ or ‘sensational’, then we can see signs of adjustment here too.

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