By Rosanna Lauriola, Kyriakos N. Demetriou
Brill's significant other to the Reception of Euripides offers a complete account of the impression and appropriation of all extant Euripidean performs because their inception: from antiquity to modernity, throughout cultures and civilizations, from a number of views and inside a huge diversity of human adventure and cultural tendencies, particularly literature, highbrow historical past, visible arts, track, opera and dance, level and cinematography. A concerted paintings by means of a world group of experts within the box, the quantity is addressed to a large and multidisciplinary readership of classical reception reviews, from specialists to non-experts. members have interaction in a vividly and energetic interactive discussion with the traditional and the trendy which, whereas illuminating features of old drama and highlighting their ever-lasting relevance, deals a considerate and layered advisor of the human situation.
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Extra info for Brill's companion to the reception of Euripides
26 Gamel the salvific divine intervention—but the figures above are just as uncertain as those below. Iphigenia clutching the deer’s horn looks back, worried, as if still fearful she might be caught, while Artemis/Diana seems surprised at the sight of the girl. 33 In visual representations of Iphigenia at Aulis, just as in literary ones, there is a long lacuna. The first recorded painting is Il sacrificio di Ifigenia (“Sacrifice of Iphigenia”) by the Italian painter Ferrando Ferramola (1478–1528), dated 1511.
83). Since Epicureanism held that gods exist but do not involve themselves in human affairs, Lucretius rejects the idea of the goddess saving Iphigenia; instead, the Greek leaders “foully polluted the altar of Diana” with the girl’s blood (1. 84–5). Here Iphigenia is a victim, not an agent; she does not even have to be gagged to avoid her cursing her murderers as she collapses “silent with terror” (1. 92). Cicero (well-known Roman orator, politician, philosopher, 1st century BC), by contrast, celebrates her as a patriot who “orders that she be led to death so that enemies’ blood might be drawn forth by her blood” (Tusculanae Disputationes [“Tusculan Disputations”] 1.
68 There are also three bold American ones: the Iphigenia(s) by Ellen McLaughlin (1995), Caridad Svich (2005), and Charles Mee (2007). The well-known playwright and actress Ellen McLaughlin has adapted a number of Greek scripts. ”69 This process started in 1992 when she wrote a version of Sophocles’ Electra, which then became part of Iphigenia and Other Daughters (1995). A focus on speech and the utter absence of any 67 Taylor (1990) 26. 68 Hall (2005) 14–19 discusses these plays. 69 McLaughlin (2005) xiv.
Brill's companion to the reception of Euripides by Rosanna Lauriola, Kyriakos N. Demetriou