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Women on the Edge
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Produktbeschreibungen
Pressestimmen
"I highly recommend this collection to anyone eager to encounter an innovative reading of Euripidean drama."
-Monica Silveira Cyrino, University of New Mexico "Theatre Jounral, March 2003
..."in a class by itself... This would make a fine text for advanced students of literature in translation or women in antiquity."
-Classical Outlook
"This is not your grandfather's translation of Euripedes..... Provides a good introduction to feminist readings of these plays, accessible translations, helpful background material, and openness about the translators' methods... A valuable addition to translations of Euripidean tragedy.."
-" Bryn Mawr Classical Review, October 1999, Volume 40
-Monica Silveira Cyrino, University of New Mexico "Theatre Jounral, March 2003
..."in a class by itself... This would make a fine text for advanced students of literature in translation or women in antiquity."
-Classical Outlook
"This is not your grandfather's translation of Euripedes..... Provides a good introduction to feminist readings of these plays, accessible translations, helpful background material, and openness about the translators' methods... A valuable addition to translations of Euripidean tragedy.."
-" Bryn Mawr Classical Review, October 1999, Volume 40
Kurzbeschreibung
"Women on the Edge," a collection of "Alcestis, Medea, Helen, " and "Iphegenia at Aulis, " provides a broad sample of Euripides' plays focusing on women, and spans the chronology of his surviving works, from the earliest, to his last, incomplete, and posthumously produced masterpiece. Each play shows women in various roles--slave, unmarried girl, devoted wife, alienated wife, mother, daughter--providing a range of evidence about the kinds of meaning and effects the category woman conveyed in ancient Athens. The female protagonists in these plays test the boundaries--literal and conceptual--of their lives.
Although women are often represented in tragedy as powerful and free in their thoughts, speech and actions, real Athenian women were apparently expected to live unseen and silent, under control of fathers and husbands, with little political or economic power. Women in tragedy often disrupt "normal" life by their words and actions: they speak out boldly, tell lies, cause public unrest, violate custom, defy orders, even kill. Female characters in tragedy take actions, and raise issues central to the plays in which they appear, sometimes in strong opposition to male characters. The four plays in this collection offer examples of women who support the status quo and women who oppose and disrupt it; sometimes these are the same characters.
The translations in "Women on the Edge" help readers locate the plays within their original social, cultural and performance context and mediate between ancient and modern ideologies.
Although women are often represented in tragedy as powerful and free in their thoughts, speech and actions, real Athenian women were apparently expected to live unseen and silent, under control of fathers and husbands, with little political or economic power. Women in tragedy often disrupt "normal" life by their words and actions: they speak out boldly, tell lies, cause public unrest, violate custom, defy orders, even kill. Female characters in tragedy take actions, and raise issues central to the plays in which they appear, sometimes in strong opposition to male characters. The four plays in this collection offer examples of women who support the status quo and women who oppose and disrupt it; sometimes these are the same characters.
The translations in "Women on the Edge" help readers locate the plays within their original social, cultural and performance context and mediate between ancient and modern ideologies.
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Einleitungssatz
The form of mass entertainment commonly known as "Greek" tragedy was not a widespread phenomenon but a peculiarly Athenian art form, closely associated with the life of a particular polis ("city-state") at a particular time, namely Athens in the latter part of the fifth century (500-400) BCE. Lesen Sie die erste Seite
Buchdeckel | Copyright | Inhaltsverzeichnis | Auszug | Rückseite
The form of mass entertainment commonly known as "Greek" tragedy was not a widespread phenomenon but a peculiarly Athenian art form, closely associated with the life of a particular polis ("city-state") at a particular time, namely Athens in the latter part of the fifth century (500-400) BCE. Lesen Sie die erste Seite
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Buchdeckel | Copyright | Inhaltsverzeichnis | Auszug | Rückseite
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Format:Taschenbuch
The students in my theatre history class consistently rate this book as the best of all that we read. The translations are honest, accessible and, best of all, performable. Mary-Kay Gamel's translation of Iphigenia At Aulis is a revelation. In addition, the book's introduction and individual prefaces to the plays provide an excellent background on Athenian culture and theater in general, and on the significance of women as characters and audience in particular. I recommend Women On The Edge for classes like mine and as a scholarly work, but I also feel that anyone interested in Euripides and ancient Athens will appreciate this book.
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Translations Worthy of Performance!
13. April 2000
Format:Taschenbuch
The students in my theatre history class consistently rate this book as the best of all that we read. The translations are honest, accessible and, best of all, performable. Mary-Kay Gamel's translation of Iphigenia At Aulis is a revelation. In addition, the book's introduction and individual prefaces to the plays provide an excellent background on Athenian culture and theater in general, and on the significance of women as characters and audience in particular. I recommend Women On The Edge for classes like mine and as a scholarly work, but I also feel that anyone interested in Euripides and ancient Athens will appreciate this book.
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