From her seminal Eros the Bittersweet (1986) to her experimental Float (2016), Bakkhai (2017) and Norma Jeane Baker of Troy (2019), Anne Carson's engagement with antiquity has been deeply influential to generations of readers, both inside and outside of academia. One reason for her success is the versatile scope of her classically-oriented oeuvre, which she rethinks across multiple media and categories. Yet an equally significant reason is her profile as a classicist. In this role, Carson unfailingly refuses to conform to the established conventions and situated practices of her discipline, in favour of a mode of reading classical literature that allows for interpretative and creative freedom. From a multi-praxis, cross-disciplinary perspective, the volume explores the erudite indiscipline of Carson's classicism as it emerges in her poetry, translations, essays, and visual artistry. It argues that her classicism is irreducible to a single vision, and that it is best approached as integral to the protean character of her artistic thought. Anne Carson/Antiquity collects twenty essays by poets, translators, artists, practitioners and scholars. It offers the first collective study of the author's classicism, while drawing attention to one of the most avant-garde, multifaceted readings of the classical past.

Introduction On 'Anne Carson/Antiquity' (Laura Jansen, University of Bristol, UK) -- 1. The Beginning of Now (Anna Jackson, Victoria University of Wellington, New Zealand) -- 2. Chimeras: Empty Space and Melting Borders (Phoebe Giannisi, University of Thessaly, Greece) -- 3. Carson for the non-Classicist (Rebecca Kosick, University of Bristol, UK) -- 4. Écriture and the Budding Classicist (Anastasia-Erasmia Peponi, Stanford University, USA) -- 5. Erring and Whatever (Gillian Sze, Montreal, Canada) -- 6. The Gift of Residue (Laura Jansen, University of Bristol, UK) -- 7. Carson Fragment (Sean Gurd, University of Missouri, USA) -- 8. Shades (Elizabeth D. Harvey, University of Toronto, Canada) -- 9. The Paratextual Cosmos (Paschalis Nikolaou, Ionian University, Greece) -- 10. An Essay on An Essay on Irony (Yopie Prins, University of Michigan, USA) -- 11. The Stesichorean Ethos (P. J. Finglass, University of Bristol, UK) -- 12. Cunning Intelligence (Ian Rae, Western University, Canada) -- 13. Mythical Immersions (Vanda Zajko, University of Bristol, UK) -- 14. Deadly Erotic Tangos and Animal Affinity (Hannah Silverblank, Haverford College, USA) -- 15. Poetry and Profit (Ella Haselswerdt, UCLA, USA & Mathura Umachandran, Cornell University, USA) -- 16. More Spectres of Dying Empire (Kay Gabriel, Princeton University, USA) -- 17. Translation, Transcreation, Transgression (Susan Bassnett, Universities of Glasgow and Warwick, UK) -- 18. Translating the Canon, Filling the Absence (Eugenia Nicolaci, University of Bristol, UK) -- 19. Translation Catastrophes: Pinplay (Grace Zanotti, University of Michigan, USA) -- 20. There it Lies Untranslatable (Elena Theodorakopoulos, University of Birmingham, UK) -- Notes -- Index -- Bibliography.

From her seminal Eros the Bittersweet (1986) to her experimental Float (2016), Bakkhai (2017) and Norma Jeane Baker of Troy (2019), Anne Carson's engagement with antiquity has been deeply influential to generations of readers, both inside and outside of academia. One reason for her success is the versatile scope of her classically-oriented oeuvre, which she rethinks across multiple media and categories. Yet an equally significant reason is her profile as a classicist. In this role, Carson unfailingly refuses to conform to the established conventions and situated practices of her discipline, in favour of a mode of reading classical literature that allows for interpretative and creative freedom. From a multi-praxis, cross-disciplinary perspective, the volume explores the erudite indiscipline of Carson's classicism as it emerges in her poetry, translations, essays, and visual artistry. It argues that her classicism is irreducible to a single vision, and that it is best approached as integral to the protean character of her artistic thought. Anne Carson/Antiquity collects twenty essays by poets, translators, artists, practitioners and scholars. It offers the first collective study of the author's classicism, while drawing attention to one of the most avant-garde, multifaceted readings of the classical past.

"The scene with which I begin this chapter is the kind of scene that interests Carson. In the words of her 'Essay on What I Think About Most' (1999), a disquisition on mistake in stanzas of unrhyming verse, the 'wilful creation of error' is the action of the 'master contriver' - the poet: 'what Aristotle would call an "imitator" of reality'. Like the 'true mistakes of poetry', the matter Carson confesses to 'think about most', Streb's choreographed falls perform the conversion of human error into an art form. Under the dancer's regime, and by an extraordinary coup of artifice, the emotions of mistake - shame, exposure, thrill - are handed to us, putting our own contradictions and 'odd longings' centre-stage"--

In a time of acute crisis when our societies face a complex series of challenges (race, gender, inclusivity, changing pedagogical needs and a global pandemic) we urgently need to re-access the nature of our engagement with the Classical World. This edited collection argues that we need to discover new ways to draw on our discipline and the material it studies to engage in meaningful ways with these new academic and societal challenges. The chapters included in the collection interrogate the very processes of reception and continue the work of destabilising the concept of a pure source text or point of origin. Our aim is to break through the boundaries that still divide our ancient texts and material culture from their reception, and interpretive communities. Our contributors engage with these questions theoretically and/or through the close examination of cultural artefacts. They problematise the concept of a Western, elitist canon and actively push the geographical boundaries of reception as both a local and a global phenomenon. Individually and cumulatively, they actively engage with the question of how to marshal the classical past in our efforts to respond to the challenges of our mutable contemporary world.

Addresses heavily debated questions by offering different critical perspectives on major historical events, drawn from all time periods and from all parts of the globe. This volume covers classical antiquity and classical studies. Provides students with an enhanced understanding of events only summarized in history texts, helps stimulate critical thinking and provides ideas for papers and assignments.

Euripides II contains the plays “Andromache,” translated by Deborah Roberts; “Hecuba,” translated by William Arrowsmith; “The Suppliant Women,” translated by Frank William Jones; and “Electra,” translated by Emily Townsend Vermeule. Sixty years ago, the University of Chicago Press undertook a momentous project: a new translation of the Greek tragedies that would be the ultimate resource for teachers, students, and readers. They succeeded. Under the expert management of eminent classicists David Grene and Richmond Lattimore, those translations combined accuracy, poetic immediacy, and clarity of presentation to render the surviving masterpieces of Aeschylus, Sophocles, and Euripides in an English so lively and compelling that they remain the standard translations. Today, Chicago is taking pains to ensure that our Greek tragedies remain the leading English-language versions throughout the twenty-first century. In this highly anticipated third edition, Mark Griffith and Glenn W. Most have carefully updated the translations to bring them even closer to the ancient Greek while retaining the vibrancy for which our English versions are famous. This edition also includes brand-new translations of Euripides’ Medea, The Children of Heracles, Andromache, and Iphigenia among the Taurians, fragments of lost plays by Aeschylus, and the surviving portion of Sophocles’s satyr-drama The Trackers. New introductions for each play offer essential information about its first production, plot, and reception in antiquity and beyond. In addition, each volume includes an introduction to the life and work of its tragedian, as well as notes addressing textual uncertainties and a glossary of names and places mentioned in the plays. In addition to the new content, the volumes have been reorganized both within and between volumes to reflect the most up-to-date scholarship on the order in which the plays were originally written. The result is a set of handsome paperbacks destined to introduce new generations of readers to these foundational works of Western drama, art, and life.

Includes section "Reviews."