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Part of the series Sather classical lectures v. 70;Sather classical lectures v. 70.
Notes:

• Includes bibliographical references (pages 343-361) and index.
• This book explores the emergence of Greek tragedy on the American stage from the nineteenth century to the present. Despite the gap separating the world of classical Greece from our own, Greek tragedy has provided a fertile source for some of the most innovative American theater. Helene P. Foley shows how plays like Oedipus Rex and Medea have resonated deeply with contemporary concerns and controversies-over war, slavery, race, the status of women, religion, identity, and immigration. Although Greek tragedy was often initially embraced for its melodramatic possibilities, by the twentieth century it became a vehicle not only for major developments in the history of American theater and dance, but also for exploring critical tensions in American cultural and political life.
• Greek tragedy finds an American audience — Setting the stage — American theater makes Greek tragedy its own — Making total theater in America : choreography and music — Hellenic influences on the development of American modern dance — American Gesamtkunste Werke — Musical theater — Visual choreography in Robert Wilson’s Alcestis — Democratizing Greek tragedy — Antigone and politics in the nineteenth century : the Boston 1890 Antigone — Performance groups in the 1960s-1970s : Brecht’s Antigone by the living theatre — The 1980s and beyond : Peter Sellars’ Persians, Ajax and the Children of Heracles compared with other versions of Persians and Ajax — Aeschylus’ Prometheus bound in the U.S. : from the threat of apocalypse to communal reconciliation — Re-envisioning the hero : American Oedipus — Oedipus as scapegoat — Plagues — Theban cycles — Deconstructing fatality — Abandonment — Re-imagining Medea as American other — Setting the stage : nineteenth century Medea — Medea as social critic from the mid-1930s-the late 1940s — Medea as ethnic other from the 1970s-the present — Medea’s divided self : drag and cross dressed performances.

Subjects:

• Greek drama — History and criticism.
• Theater — United States — History.

Requested by Kurpiers, R

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Notes:

• Originally published as Latein: Geschichte einer Weltsprache, copyright (c) 2009 Verlag C.H. Beck oHG, Munich.
• Includes bibliographical references (pages 301-320) and index.
• Latin as a world language — The language of the Empire — Europe’s Latin millennium — World language without a world — Latin today.
• The mother tongue of the Roman Empire and the lingua franca of the West for centuries after Rome’s fall, Latin survives today primarily in classrooms and texts. Yet this dead language is unique in the influence it has exerted across centuries and continents. Jürgen Leonhardt has written a full history of Latin from antiquity to the present, uncovering how this once parochial dialect developed into a vehicle of global communication that remained vital long after its spoken form was supplanted by modern languages. Latin originated in the Italian region of Latium, around Rome, and became widespread as that city’s imperial might grew. By the first century BCE, Latin was already transitioning from a living vernacular, as writers and grammarians like Cicero and Varro fixed Latin’s status as a classical language with a codified rhetoric and rules. As Romance languages spun off from their Latin origins following the empire’s collapse–shedding cases and genders along the way–the ancient language retained its currency as a world language in ways that anticipated English and Spanish, but it ceased to evolve. Leonhardt charts the vicissitudes of Latin in the post-Roman world: its ninth-century revival under Charlemagne and its flourishing among Renaissance writers who, more than their medieval predecessors, were interested in questions of literary style and expression. Ultimately, the rise of historicism in the eighteenth century turned Latin from a practical tongue to an academic subject. Nevertheless, of all the traces left by the Romans, their language remains the most ubiquitous artifact of a once peerless empire. — Publisher’s description.
• Preface is in English.

Subjects:

• Latin language — History.
• Latin language — Study and teaching — History.
• Latin language — Technical Latin — History.
• Latin language, Colloquial — History.
• Latin language, Vulgar — History.
• Latin literature — History.
• Latin philology — History.
• Latin language. fast (OCoLC)fst00993125
• Latin language, Colloquial. fast (OCoLC)fst00993283
• Latin language — Study and teaching. fast (OCoLC)fst00993236
• Latin language — Technical Latin. fast (OCoLC)fst00993251
• Latin language, Vulgar. fast (OCoLC)fst00993320
• Latin literature. fast (OCoLC)fst00993331
• Latin philology. fast (OCoLC)fst00993364
• History. fast (OCoLC)fst01411628

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Notes:

• Includes bibliographical references and index.
• Telemachos in Ithaca — Telemachos calls an assembly — Telemachos in Pylos — Telemachos in Sparta — Odysseus and Kalypso — Odysseus and Nausicaa — Odysseus in the Phaeacian court — The stranger in town — Odysseus in the cave of Cyclops — Odysseus and Kirkē — Odysseus in the underworld — Odysseus on the island of the sun — Home at last — Odysseus in the pig herder’s hut — The pig herder’s tale — Father and son — The faithful dog Argos — Presents from the suitors — Odysseus’ scar — A vision of doom — The contest of the bow — The slaughter of the suitors — Husband and wife — Father and son.
• Odysseus–soldier, sailor, trickster, and everyman–is one of the most recognizable characters in world literature. His arduous, ten-year journey home after the Trojan War, the subject of Homer’s Odyssey, is the most accessible tale to survive from ancient Greece, and its impact is still felt today across many different cultures. This lively free verse translation, from one of today’s leading Homeric scholars, preserves the clarity and simplicity of the original while conveying Odysseus’ adventures in a modern style. By avoiding the technical formality of earlier translations, and the colloquial and sometimes exaggerated effects of recent attempts, Barry B. Powell’s translation deftly captures the most essential truths of this vital text. Due to his thorough familiarity with the world of Homer and Homeric language, Powell’s introduction provides rich historical and literary perspectives on the poem. This volume also includes illustrations from classical artwork, detailed maps, explanatory notes, a timeline, and a glossary. Modern and pleasing to the ear while accurately reflecting the meaning of the original, this Odyssey is a superlative translation for twenty-first-century readers.
• Translated from the Greek.

Subjects:

• Odysseus, King of Ithaca (Mythological character) — Poetry.
• Epic poetry, Greek — Translations into English.
• Epic poetry, Classical — Translations into English.

Requested by Kurpiers, R

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Part of the series Classical presences;Classical presences.
Notes:

• Black Odysseys explores creative works by artists of ultimately African descent which respond to the Homeric Odyssey. Considering what the ancient Greek epic has signified for those struggling to emerge from the shadow of European imperialism, and how it has inspired anticolonial poets, novelists, playwrights, and directors, Justine McConnell examines twentieth- and twenty-first century works from Africa and the African diaspora. –Book jacket.
• Includes bibliographical references (pages [271]-300) and index.
• Introduction: The Odysseys of Postcolonialism — A Martiniquan Ithaca: Aimé Césaire’s Cahier d’un retour au pays natal — Invisible Odysseus and the Cyclops: Ralph Ellison’s Invisible Man — The ‘unread’ Homer: Derek Walcott’s Omeros and The Odyssey: A Stage Version — A Deep South Odyssey: Jon Amiel’s Sommersby — Cross-cultural Nostoi: Wilson Harris’s The Mask of the Beggar — South African Penelopes: Njabulo Ndebele’s The Cry of Winnie Mandela — Coda: New directions: Jatinder Verma and Tara Arts — Conclusion: Rewriting Odysseys.

Subjects:

• Homer — Influence.
• Homer. Odyssey.
• African diaspora.
• Literature — Black authors — History and criticism.
• Literature, Modern — 20th century — History and criticism.
• Literature, Modern — 21st century — History and criticism.
• Homecoming in literature.
• Identity (Psychology) in literature.

Requested by Wanyama, M

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Part of the series Sather classical lectures v. 18, 1945;Sather classical lectures v. 18, 1945.
Notes:

• Includes bibliographical references (p. [165]-255).

Subjects:

• Ovid, 43 B.C.-17 A.D. or 18 A.D.

Requested by Anonymous

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Notes:

• Includes bibliographical references (p. 359-397) and index.
• Introduction : What is a Greek tragedy? — Play makers — Community identities — Confrontations — Minds — Aeschylean drama — Euripidean drama — Sophoclean drama — Greek tragedy and tragic fragments today.
• Edith Hall offers an introduction to Greek tragedy which argues that the essential feature of the genre is that it depicts terrible human suffering and death, but in a way that invites philosophical enquiry into their causes and effects. This enquiry was played out in the bright sunlight of open-air theatre, which became a key marker of the boundary between living and dead. The first half of the book is divided into four chapters which address the social and physical contexts in which the plays were performed, the contribution of the poets, actors, funders, and audiences, the poetic composition of the texts, their performance conventions, main themes, and focus on religion, politics, the family, and the psychological and emotional experiences of individual heroes. The second half consists of individual essays on each of the surviving thirty-three plays by the Greek tragedians, and an account of the recent performance of Greek tragic theatre and tragic fragments. These features, together with up-to-date ‘Suggestions for further reading’, will enable the book to be used as a reference work as well as providing essential orientation in the field. –BOOK JACKET.

Subjects:

• Greek drama (Tragedy) — History and criticism.
• Tragödie swd
• Griechisch swd

Requested by Green, D

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Notes:

• Includes bibliographical references and index.
• The current questions and future prospects of medieval Latin studies / David Townsend — Canonicity / Ralph Hexter — Latin as an acquired language / Carin Ruff — Latin as a language of authoritative tradition / Ryan Szpiech — The cultures and dynamics of translation into medieval Latin / Thomas E. Burman — Medieval Scandinavian Latin / Karsten Frijs-Jensen — The idea of Latinity / Nicholas Watson — Readers and manuscripts / Andrew Taylor — Gloss and commentary / Rita Copeland — Location, location, location : geography, knowledge, and the creation of medieval Latin textual communities / Ralph Hexter — Prose style / Gregory Hays — Verse style / Jean-Yves Tilliette (translated from French) — Crossing generic boundaries / A. G. Rigg — Textual fluidity and the interaction of Latin and the vernacular languages / Brian Murdoch — Martianus Capella and the liberal arts / Andrew Hicks — Mythography / Winthrop Wetherbee — Biblical thematics : the story of Samson in medieval literary discourse / Greti Dinkova-Bruun — The language, form, and performance of monophonic liturgical chants / Susan Boynton and Margot Fassler — Regimens of schooling / Mia Münster-Swendsen — Gender / Sylvia Parsons and David Townsend — Sex and sexuality / Larry Scanlon — Medieval Latin spirituality: seeking divine presence / Anne Clark — Modes of self-writing from antiquity to the later middle ages / Gur Zak — Late antiquity, new departures / Marco Formisano — Renaissances and revivals / Monika Otter — Humanism and continuities in the transition to the early modern / Ronald Witt — Medieval Latin texts, the introduction of print, and the development of editorial methods / Paolo Chiesa (translated from Italian) — Medieval Latin in modern English : translations from the nineteenth century to the present day / Jan Ziolkowski — Chronology of medieval authors.

Subjects:

• Latin philology, Medieval and modern.
• Latin literature, Medieval and modern — History and criticism.
• Manuscripts, Latin (Medieval and modern)

Requested by Green, D.

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Part of the series Wisconsin studies in classics;Wisconsin studies in classics.
Notes:

• Includes bibliographical references (p. 183-193) and index.
• Narcissus and elegy — The metamorphic Medea — Daedalus and the labyrinth of the metamorphoses — Orpheus and the internal narrator — Ulysses and the arms of Achilles.

Subjects:

• Ovid, 43 B.C.-17 A.D. or 18 A.D. — Criticism and interpretation.
• Ovid, 43 B.C.-17 A.D. or 18 A.D. Metamorphoses.

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Part of the series Johns Hopkins new translations from antiquity;Johns Hopkins new translations from antiquity.
Notes:

• Includes bibliographical references.
• Translated from the Latin.

Subjects:

• Horace — Translations into English.
• Laudatory poetry, Latin — Translations into English.
• Verse satire, Latin — Translations into English.
• Rome — Poetry.

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Notes:

• Includes bibliographical references and index.
• Introduction : why read Homer? / Kostas Myrsiades — Homer as history : Greeks and others in a dark age / Shawn Ross — Geras and guest gifts in Homer / Rick M. Newton — Homer’s Odyssey, Books 19 and 23 : early recognition, a solution to the enigmas of ivory and horns, and the test of the bed / John B. Vlahos — Conversation in the Odyssey / Scott Richardson — The end of speeches and a speech’s end : Nestor, Diomedes, and the telos muthôn / Joel Christensen — Achilles’ heel : the historicism of the film Troy / Jonathan S. Burgess — Redefining Homeric heroism in Wolfgang Petersen’s Troy / Charles C. Chiasson — The Odyssey and Frank Capra’s It’s a wonderful life / Bruce Louden — Reading The gunfighter as Homeric epic / Kostas Myrsiades.

Subjects:

• Homer — Criticism and interpretation.
• Homer — Influence.
• Motion pictures — Plots, themes, etc.
• Mythology in motion pictures.
• Troy (Motion picture)

Requested by Green, D.