Killing Hercules: Deianira and the Politics of Domestic Violence, from Sophocles to the War on Terror
Autor Richard Rowlanden Limba Engleză Hardback – 12 dec 2016
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Specificații
ISBN-13: 9781472434029
ISBN-10: 1472434021
Pagini: 356
Ilustrații: 4 Halftones, color; 11 Halftones, black and white; 4 Illustrations, color; 11 Illustrations, black and white
Dimensiuni: 156 x 234 x 25 mm
Greutate: 0.79 kg
Ediția:1
Editura: Taylor & Francis
Colecția Routledge
Locul publicării:Oxford, United Kingdom
ISBN-10: 1472434021
Pagini: 356
Ilustrații: 4 Halftones, color; 11 Halftones, black and white; 4 Illustrations, color; 11 Illustrations, black and white
Dimensiuni: 156 x 234 x 25 mm
Greutate: 0.79 kg
Ediția:1
Editura: Taylor & Francis
Colecția Routledge
Locul publicării:Oxford, United Kingdom
Public țintă
PostgraduateCuprins
List of Illustrations
Acknowledgments
Preface
Chapter 1: The Trachiniae of Sophocles
Chapter 2: Hurting Inside(s): Hercules and Deianira in Ancient Rome
Chapter 3: Wrestling with Hercules in the Middle Ages
Chapter 4: Dalliance and Puddinges: Translating Herculean Marriage in/to Post-Reformation England
Chapter 5: Baroque and Berserk: from the King’s Execution to the King’s Theatre
Chapter 6: ‘After Sophocles’: Deianira and the ‘War on Terror’
Appendix. Translation: The Women of Trachis
Bibliographies
Index
Acknowledgments
Preface
Chapter 1: The Trachiniae of Sophocles
Chapter 2: Hurting Inside(s): Hercules and Deianira in Ancient Rome
Chapter 3: Wrestling with Hercules in the Middle Ages
Chapter 4: Dalliance and Puddinges: Translating Herculean Marriage in/to Post-Reformation England
Chapter 5: Baroque and Berserk: from the King’s Execution to the King’s Theatre
Chapter 6: ‘After Sophocles’: Deianira and the ‘War on Terror’
Appendix. Translation: The Women of Trachis
Bibliographies
Index
Notă biografică
Richard Rowland is Senior Lecturer in Drama in the Department of English and Related Literature at the University of York. He has edited plays by George Chapman and Ben Jonson for the Penguin Dramatists series, Christopher Marlowe’s Edward II for the Oxford University Press Complete Works, and Edward IV for the Revels series (Manchester University Press). He is also the author of The Theatre of Thomas Heywood, 1599-1639: Locations, Translations and Conflict (2010).
Recenzii
"Throughout the book, Rowland shows remarkable erudition. Not only does he navigate an ocean of primary sources from classical antiquity to the twenty-first century, but he provides abundant documentation on each source and period, engaging with critical traditions, combining methodologies and offering many new readings."
- Charlotte Coffin, Universite Paris-Est Creteil - Cahiers Elisabethains
'Rowland is one of the very few scholars with detailed knowledge of both ancient theatre and the medieval and early modern performance traditions. Killing Herculestherefore makes a very significant contribution to classical reception scholarship and to the medieval and early modern receptions of Sophocles' Women of Trachis, in particular. But it does much more than that: Rowland copiously tracks the trails of destruction left by Hercules, the serial adulterer and aggressive sexual predator, across media (in opera as well as theatre and the iconographic tradition) and across time and place, right down to Martin Crimp's twenty-first century Hercules in Cruel and Tender, who has just returned from spearheading the ‘war on terror’.' Fiona Macintosh, Professor of Classical Reception, University of Oxford, and Director of the Archive for Performances of Greek and Roman Drama
‘Large-scale treatments of European themes have all too often leapt from the classics to the early modern, but Richard Rowland here shows with remarkable breadth and grasp why medieval wrestlings with Hercules in all their audacity, freedom and confident re-direction, must not be left out of the transformations of the classical story-world so continuingly vital in Western culture. He offers a rich series of changing receptions from the church fathers to Boethius to Petrarch and Boccaccio; new perspectives on Hercules as a figure of sexual violence for Jean de Meun and Christine de Pisan; fresh accounts of Hercules and Deianira in the energetic and varied late medieval explorations of marriage by Chaucer, Gower and Lydgate, as well as examining Deianira’s continuing career in early modern print.’ Jocelyn Wogan-Browne, Thomas F. X. & Theresa Mullarkey Chair in Literature, Fordham University, New York
‘With this book Richard Rowland sets new standards for understanding and appreciating English music theatre works. Music historians will be stimulated by the breadth and detail with which he tracks the handling of Hercules from classical antiquity to the present. Historians of literature should take encouragement from Rowland’s accessible and provocative analyses to follow his example and include musical works in their surveys. This is an exceptionally fresh, thoroughly worked out approach to the artistic interpretation of a universal theme.’ Dr Ruth Smith, author of Handel’s Oratorios and Eighteenth-Century Thought
- Charlotte Coffin, Universite Paris-Est Creteil - Cahiers Elisabethains
'Rowland is one of the very few scholars with detailed knowledge of both ancient theatre and the medieval and early modern performance traditions. Killing Herculestherefore makes a very significant contribution to classical reception scholarship and to the medieval and early modern receptions of Sophocles' Women of Trachis, in particular. But it does much more than that: Rowland copiously tracks the trails of destruction left by Hercules, the serial adulterer and aggressive sexual predator, across media (in opera as well as theatre and the iconographic tradition) and across time and place, right down to Martin Crimp's twenty-first century Hercules in Cruel and Tender, who has just returned from spearheading the ‘war on terror’.' Fiona Macintosh, Professor of Classical Reception, University of Oxford, and Director of the Archive for Performances of Greek and Roman Drama
‘Large-scale treatments of European themes have all too often leapt from the classics to the early modern, but Richard Rowland here shows with remarkable breadth and grasp why medieval wrestlings with Hercules in all their audacity, freedom and confident re-direction, must not be left out of the transformations of the classical story-world so continuingly vital in Western culture. He offers a rich series of changing receptions from the church fathers to Boethius to Petrarch and Boccaccio; new perspectives on Hercules as a figure of sexual violence for Jean de Meun and Christine de Pisan; fresh accounts of Hercules and Deianira in the energetic and varied late medieval explorations of marriage by Chaucer, Gower and Lydgate, as well as examining Deianira’s continuing career in early modern print.’ Jocelyn Wogan-Browne, Thomas F. X. & Theresa Mullarkey Chair in Literature, Fordham University, New York
‘With this book Richard Rowland sets new standards for understanding and appreciating English music theatre works. Music historians will be stimulated by the breadth and detail with which he tracks the handling of Hercules from classical antiquity to the present. Historians of literature should take encouragement from Rowland’s accessible and provocative analyses to follow his example and include musical works in their surveys. This is an exceptionally fresh, thoroughly worked out approach to the artistic interpretation of a universal theme.’ Dr Ruth Smith, author of Handel’s Oratorios and Eighteenth-Century Thought
Descriere
Each chapter of this book offers a detailed account of the ways in which different cultures – the ancient Greek democracy, imperial Rome, early Christianity, the emergent vernacular cultures of late medieval and early modern Europe, the Enlightenment – have re-evaluated the story of Hercules and his wife and killer Deianira, in the light of their own attempts to come to terms with the phenomena of military and domestic violence. The study combines the close examination of texts, translations and visual images, but it is also about performance: it begins with Sophocles interrogating the cult of Hercules’ heroism and deification in his Trachiniae, and ends with Martin Crimp’s reworking of that play in 2004.