The translation of ancient tragedy is often considered at a linguistic level, as if the drama consisted simply of words being written, spoken and heard. This article contends that translation for the stage is a process in which literary decisions have physical, as well as verbal, outcomes. It traces existing formulations concerning the links between vocal and bodily expression, and explores the ways in which printed texts might be capable of suggesting modes of corporeality or systems of movement to the embodied performer. It sketches some of the ways in which the range of possible relationships between language and physicality might be explored and understood, drawing upon recent practice-based research into the work of three modern poetic translators of Greek tragedy.
Preliminary analysis of the representation of laborers in Greek tragedy and satyr drama.
Part of a much larger study in the intellectual history of Sophocles (and Greek tragedy in general) in the 18th century, this chapter brings to light, for the first time, Jean Terrasson’s incisive and highly influential attempt to dismantle Christianising and Neo-Classicist interpretations of both Greek tragedy and Aristotle’s Poetics and to replace ancient tragedy and theory of tragedy as dangerous and outdated products of pagan religion and mentality with a new, and in his view vastly superior, concept of modern tragedy
In Republic X, the “problem of the irrational part” is this: Greek tragedy interacts with non-reasoning elements of the soul, affecting audiences in ways that undermine their reasoned views about virtue and value. I suggest that the common construal of Socrates’s critique of Greek tragedy is inadequate, in that it belies key elements of Plato’s audience psychology; specifically, the crucial role of the spirited part and the audience’s cognitive contribution to spectatorship. I argue that Socrates’s emphasis on the audience’s cognitive contribution to spectatorship allows him to anticipate a non-authoritarian solution to the problem of the irrational part.
Part of a much larger project, this part of the book developed, for the fist time, a history of intellectual engagement with Greek tragedy and tragic theology in general and Sophocles’ Oedipus Rex in particular as one of the central intellectual contests in the 18th century Europe, from the early stages of the Quérelle des Anciens et des Modernes to the French Revolution.
I am a lecturer in English at Penn State University, University Park campus. I teach first year rhetoric and composition. In the Spring of 2017 I took my doctorate at West Virginia University, with a dissertation arguing that contemporary adaptations of Greek tragedy evoke a cosmopolitan cultural commons to resist neoliberal capitalism. I am currently turning that project into a book manuscript.
Book Review Tragic Views of the Human Condition: Cross-Cultural Comparisons between Views of Human Nature in Greek and Shakespearean Tragedy and the Mahabharata and Bhagavadgita by Lourens Minnema, Prabuddha Bharata March 2015
In this guide we pick our way through a range of themes and issues that help negotiate the distance between Homer’s time and our own: the question of who, or what, Homer is and how to approach reading his poetry (the Introduction); the epic cosmos that Homer inherits, challenges and changes forever (Ch. 1); the Iliad’s examination of politics through its depiction of the Achaeans’ coalition against the Trojans (Ch. 2); its emotional core that invites the audience inside Troy to experience war from the ‘other’ perspective (Ch. 3); the disarming humanity of the Iliad’s final vision of the meeting of godlike Achilles and the old man whose son he has killed (Ch. 4); the Odyssey’s rollercoaster ride through epic as we catch up on what has been happening since the fall of Troy (Ch. 5); a storytelling master-class from Odysseus himself including his great escape from the cave of the Cyclops (Ch. 6); the Odyssey’s show-stopping finale as Odysseus takes on the suitors (Ch. 7); and a brief tour through many receptions of Homer from Greek tragedy to science fiction (the Epilogue).
I am a sixth generation Texan, though I have now officially lived half of my life outside of Texas. Pennsylvania seems to have accepted me, though, and I at least think it’s going reasonably well. Teaching and writing were all I ever wanted to do for a living, and, fortunately, I have found a few people willing to pay me for the former and a few people willing to give me some white space for the latter. For six years I combined my interests by teaching writing at the University of Pennsylvania, which was both stimulating and fun. In that program I designed and taught classes on everything from ancient magic to race in antiquity to the politics of belonging to fairy tales, and learned a great deal about pedagogy. After a surprising and exciting semester teaching Shakespeare in film at Temple University, I have recently returned firmly to the field of classical studies, and am teaching Greek, Latin, and classics courses at the University of Pennsylvania and at Temple. My research explores poetry and poetics in archaic and classical Greece, mythology, and reception. I am currently (and probably foolishly) working on two book projects: one is on the development and significance of the figure of the Gorgon in Greco-Roman literature and art, and the other is an annotated translation of the Iliad for readers new to the poem and unfamiliar with the tradition. I have also published and/or presented on Medusa, dreams in ancient literature, Homer, Greek tragedy, teaching classics through writing, and – stretching my expertise, but responsibly – women’s suffrage in America, for the Biographical Database of Militant Woman Suffragists. When I’m not working, I enjoy spending time with my husband, admiring my cats, and dancing – I began studying Middle Eastern dance in 2005, picked up ballet in 2012, and went up on pointe in 2015. Other hobbies include sewing, quilting, studying Russian, playing classical piano, traveling, and creative writing.