Julius Caesar's Self-Created Image and Its Dramatic Afterlife: Bloomsbury Studies in Classical Reception
Autor Dr Miryana Dimitrovaen Limba Engleză Paperback – 26 iun 2019
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Specificații
ISBN-13: 9781350117303
ISBN-10: 1350117307
Pagini: 256
Dimensiuni: 156 x 234 x 17 mm
Greutate: 0.35 kg
Editura: Bloomsbury Publishing
Colecția Bloomsbury Academic
Seria Bloomsbury Studies in Classical Reception
Locul publicării:London, United Kingdom
ISBN-10: 1350117307
Pagini: 256
Dimensiuni: 156 x 234 x 17 mm
Greutate: 0.35 kg
Editura: Bloomsbury Publishing
Colecția Bloomsbury Academic
Seria Bloomsbury Studies in Classical Reception
Locul publicării:London, United Kingdom
Caracteristici
New assessment of historical Caesar's self-representation: analysis of the Commentaries which reaches beyond the classical canon and reveals their author's capacity to influence the subsequent dramatic representations of 'Caesar'
Notă biografică
Miryana Dimitrova is an independent researcher with a PhD in the reception of classical literature from King's College, London, UK.
Cuprins
AcknowledgmentsIntroduction: Caesar is Dead. Long Live Caesar!1. 'I am he': Aspects of Caesar's Self-Representation in the Commentaries2. Efficient Benevolence, the Shadow of Hubris and an Eastern Infatuation3. 'For Always I am Caesar': Performative Actualization of Caesar's Self-Styled Image and Illeism as a Marker of Self-Institutionalization4. Transhistorical and Quasi-Divine: Caesar Connecting the Threads of Time EpilogueReferencesIndex
Recenzii
The strengths of this book lie especially in the author's impressive familiarity with her large number of texts, both from antiquity and later periods, and in her close readings . Dimitrova is a skilled reader who presents an impressive insight into both the scholarly literature on the subjects treated as well as a high degree of familiarity with both her ancient sources and the nine dramas.
A pioneering study transcending boundaries between Classics, Theatre and Literary Studies. In elegant dissections of Julius Caesar's representations from the Renaissance to Shaw, Dimitrova creates an original argument about a staple figure of the global stage.
This study of the cultural reception of the personality of Julius Caesar in theatre and opera begins with an analysis of Caesar's promotion of his own achievements in his Commentaries which are a fusion of propaganda and self-promotion. Dimitrova offers rich and insightful readings of the reception of Caesar's own self-representation in Shakespeare, Handel, Shaw and others. Her excellent study offers new ways of perceiving Caesar's own text as well as enriching our understanding of theatrical, operatic, and cinematic depictions of the famous Roman general. This is reception studies at its best.
Miryana Dimitrova's well-researched, well-organised and highly accessible study of the relationship between Julius Caesar's self-representation in his Commentaries, less flattering representation by Roman historians, such as Lucan, and subsequent appropriation by English dramatists, offers the reader and researcher a fascinating insight into the dramatic mediation of iconicity. Her treatment of the themes of Caesarian self-justification and self-memorialization - as reflected in the ambivalent characteristics of his pragmatic clemency, his legendary celerity, as well as his hubris and political manipulation and his central role in the decline of Roman Republicanism - is both compelling and original. A spectrum of dramatic authors and composers, from Shakespeare, Chapman, Fletcher and Massinger, to G.F. Handel and, in the 20th century, George Bernard Shaw all of whose plays have contributed significantly to the Caesarian myth and demigod status is adduced to explain the relationship between synchronic autobiographical record and diachronic image-fashioning across languages and cultures.
A pioneering study transcending boundaries between Classics, Theatre and Literary Studies. In elegant dissections of Julius Caesar's representations from the Renaissance to Shaw, Dimitrova creates an original argument about a staple figure of the global stage.
This study of the cultural reception of the personality of Julius Caesar in theatre and opera begins with an analysis of Caesar's promotion of his own achievements in his Commentaries which are a fusion of propaganda and self-promotion. Dimitrova offers rich and insightful readings of the reception of Caesar's own self-representation in Shakespeare, Handel, Shaw and others. Her excellent study offers new ways of perceiving Caesar's own text as well as enriching our understanding of theatrical, operatic, and cinematic depictions of the famous Roman general. This is reception studies at its best.
Miryana Dimitrova's well-researched, well-organised and highly accessible study of the relationship between Julius Caesar's self-representation in his Commentaries, less flattering representation by Roman historians, such as Lucan, and subsequent appropriation by English dramatists, offers the reader and researcher a fascinating insight into the dramatic mediation of iconicity. Her treatment of the themes of Caesarian self-justification and self-memorialization - as reflected in the ambivalent characteristics of his pragmatic clemency, his legendary celerity, as well as his hubris and political manipulation and his central role in the decline of Roman Republicanism - is both compelling and original. A spectrum of dramatic authors and composers, from Shakespeare, Chapman, Fletcher and Massinger, to G.F. Handel and, in the 20th century, George Bernard Shaw all of whose plays have contributed significantly to the Caesarian myth and demigod status is adduced to explain the relationship between synchronic autobiographical record and diachronic image-fashioning across languages and cultures.