The reception of Aeschylus’ plays through shifting models and frontiers

425 Pages·2017·2.424 MB·English

by  Constantinidis, Stratos E.

The Reception of Aeschylus’ Plays through Shifting Models and Frontiers
Metaforms
Studies in the Reception of Classical Antiquity
Editors-in-Chief
Almut-Barbara Renger (Freie Universität Berlin)
Jon Solomon (University of Illinois at Urbana-Champaign)
John T. Hamilton (Harvard University)
Editorial Board
Kyriakos Demetriou (University of Cyprus)
Constanze Güthenke (Oxford University)
Miriam Leonard (University College London)
Mira Seo (Yale-NUS College)
VOLUME 7
The titles published in this series are listed at brill.com/srca
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The Reception of Aeschylus’ Plays
through Shifting Models and
Frontiers
Edited by
Stratos E. Constantinidis
LEIDEN | BOSTON
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Cover photo: Carl Orff’s Prometheus, directed by Lemi Ponifasio and conducted by Peter Rundel. In the role
of Prometheus Wolfgang Newerla 2012. Photo courtesy of Klaus Rudolph, 2016.
Library of Congress Cataloging-in-Publication Data
Names: Constantinidis, Stratos E., editor.
Title: The reception of Aeschylus’ plays through shifting models and
frontiers / edited by Stratos E. Constantinidis.
Other titles: Metaforms ; v. 7.
Description: Leiden ; Boston : Brill, 2016. | Series: Metaforms, studies in
the reception of classical antiquity ; volume 7 | Includes bibliographical
references and index.
Identifiers: lccn 2016042754 (print) | lccn 2016043088 (ebook) | isbn
9789004331150 (hardback) : alk. paper) | isbn 9789004332164 (e-book)
Subjects: lcsh: Aeschylus--Appreciation. | Aeschylus--Criticism and
interpretation.
Classification: lcc pa 3829.z9 r43 2016 (print) | lcc pa3829.z9 (ebook) | ddc
882/.01--dc23
lc record available at https://lccn.loc.gov/2016042754
Typeface for the Latin, Greek, and Cyrillic scripts: “Brill”. See and download: brill.com/brill-typeface.
issn 2212-9405
isbn 978-90-04-33115-0 (hardback)
isbn 978-90-04-33216-4 (e-book)
Copyright 2017 by Koninklijke Brill nv, Leiden, The Netherlands.
Koninklijke Brill nv incorporates the imprints Brill, Brill Hes & De Graaf, Brill Nijhoff, Brill Rodopi and
Hotei Publishing.
All rights reserved. No part of this publication may be reproduced, translated, stored in a retrieval system,
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This book is printed on acid-free paper and produced in a sustainable manner.
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Kathryn Bosher
(1974–2013)
In
Memoriam
∵
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Contents
Acknowledgments IX
List of Illustrations XI
Notes on Contributors xii
Introduction 1
1 Editing Aeschylus for a Modern Readership: Textual Criticism and
Other Concerns 23
A.F. Garvie
2 Aeschylus and His Afterlife in the Classical Period: “My Poetry Did Not
Die with Me” 51
Johanna Hanink and Anna S. Uhlig
3 Prometheus Bound in Translation: “The True Promethean Fire” 80
J. Michael Walton
4 Aeschylus’ Seven against Thebes: War, Women, and the Hecht/Bacon
Translation 107
Deborah H. Roberts
5 Aeschylus in the Balance: Weighing Corpses and the Problem of
Translation 131
Rush Rehm
6 Cognitive Theory and Aeschylus: Translating beyond the Lexicon 147
Peter Meineck
7 Aeschylus and Western Opera 176
Sarah Brown Ferrario
8 Aeschylus’ Cassandra in the Operas of Taneyev and Gnecchi 213
Dana L. Munteanu
9 Pop Music Adaptations of Aeschylus’ Plays: What Kind of Rock was
Prometheus Fastened to? 236
Kevin J. Wetmore, Jr.
viii Contents
10 Aeschylus as Postdramatic Analogue: “A Thing Both Cool and
Fiery” 250
Paul Monaghan
11 Voices of Trauma: Remaking Aeschylus’ Agamemnon in the
Twentieth Century 280
Lorna Hardwick
12 The Oresteia in Kannada: The Indian Context 304
Vijaya Guttal
13 Two Centuries, Two Oresteias, Two Remakes 319
Helen E. Moritz
Bibliography 343
Index 401
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Acknowledgments
“Being Interdisciplinary Is So Very Hard to Do” Stanley Fish wrote in Profession
(1989: 15–22). It is still hard 27 years later! Therefore, I am indebted to the De-
partment of Greek and Latin, the Middle East Studies Center, the Department
of English, the Creative Writing Program, and the Department of Theatre
for co-sponsoring at my request a two-day interdisciplinary symposium on
Aeschylus’ plays that I organized at the Blackwell Inn on the Columbus c ampus
of The Ohio State University. In particular, I want to thank nine individuals who
assisted me with the formation of the symposium panels – Lee Abbott, Anne
Carson, Richard Dutton, Fritz Graf, Gregory Jusdanis, Bruce Heiden, A nthony
Kaldellis, Alam Payind, and Bethany Rainsberg. The symposium would not
have been as successful as it was without their help.
The symposium and this book were made possible by three grants from
the Ohio State University – one for faculty study from the Office of Interna-
tional Affairs, one for research and creative activity from the College of Arts
and Humanities, and a small grant from the College of Arts and Sciences. The
money from the first two grants was earmarked to bring together scholars from
different disciplines to cooperate and contribute new insights to further our
knowledge about the plays of Aeschylus. Each discipline, as it happens, slices
up the study of his plays, establishing its own methods and lines of inquiry
with terms which are often tainted by metaphoric language. The two-day
symposium was not long enough, however, to bring about an interdisciplinary
synthesis of the various disciplinary perspectives.
For this reason I conceived of this book as a way of identifying and overcom-
ing (over time) some of the major tangible difficulties that interdisciplinary and
transdisciplinary projects face with the works of Aeschylus. I am grateful to the
fourteen c ontributing authors for their trailblazing thoughts on editing, an-
alyzing, translating, adapting, and remaking the plays of Aeschylus for the
page and the stage. Their chapters illustrate what motivates or regulates such
disciplinary exchanges, and they open up an interdisciplinary space in reader-
response and audience-response studies for the interface of editing, analyzing,
translating, adapting, and remaking the plays of Aeschylus. Each contributing
author has played a seminal role in shaping the profile of this volume. It has
been a pleasure and a privilege working with all of them on this important
project.
The contributing authors and I are also appreciative of the anonymous
referees who offered us their expertise by reading and evaluating every essay
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x Acknowledgments
in the volume. Their constructive criticism and provocative questions were
essential to the successful completion of this project. Their sound advice
helped all of us to improve the appeal and range of this book.
Stratos E. Constantinidis
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