Composed in early imperial Rome by Lucius Annaeus Seneca, Stoic philosopher and tutor to the emperor Nero, the tragedy Medea is dominated by the superhuman energy of its protagonist: diva, killer, enchantress, force of nature. Seneca's treatment of the myth covers an episode identical to that of Euripides' Greek version, enabling instructive comparisons to be drawn. Seneca's Medea has challenged and fascinated theatre-makers across cultures and centuries and should be regarded as integral to the classical heritage of European theatre. This companion volume sketches the essentials of Seneca's play and at the same time situates it within an interpretive tradition. It also uses Medea to illustrate key features of Senecan dramaturgy, the way in which language functions as a mode of theatrical representation and the way in which individuals are embedded in their surrounding conditions, resonating dissonantly with the principles of Roman Stoicism. By interweaving some of the play's subsequent receptions, theatrical and textual, into critical analysis of Medea as dramatic poetry, this companion volume will encourage the student to come to grips immediately with the ancient text's inherent multiplicity. In this way, reception theory informs not only the content of the volume but also, fundamentally, the way in which it is presented.
The Senecan Aesthetic surveys the multifarious ways in which Senecan tragedy has been staged, from the Renaissance up to the present day, and restores Seneca to a canonical position among the playwrights of antiquity, recognizing him as one of the most important, most revered, and most reviled.
This book argues that touch and movement played a significant role, long overlooked, in generating perceptions of ancient material culture in the late 18th century. At this time the reception of classical antiquity had been transformed. Interactions with material culture – ruins, sculpture, and artefacts – formed the core of this transformation. Some such interactions were proto-archaeological, such as the Dilettanti expeditions to Athens and Asa Minor; others were touristic, seen in the guidebooks consulted by travellers to Rome and the diaries they composed; and others creative, resulting in novels, poetry, and dance performances. Some involved the reproduction of experience in a gallery or museum setting. What all encounters with ancient material culture had in common, however, is their haptic sensory basis. The sense typically associated with the Enlightenment is vision, but this has obscured the equally important contribution made by touch and movement to the way in which a newly materialised Graeco-Roman world was perceived. Kinaesthesia, or the sense of self-movement, is rarely recognised in its own right, but because all encounters with sites and objects are embodied, and all embodiment takes place in motion, this sense is vital to forming more abstract or imaginative impressions. Theories of embodied cognition propose that all intellectual processes are also physical. This book shows how ideas about classical antiquity in the volatile milieu of the late 18th century developed as a result of diverse kinaesthetic relationships.
This book argues that touch and movement played a significant role, long overlooked, in generating perceptions of ancient material culture in the late 18th century. At this time the reception of classical antiquity had been transformed. Interactions with material culture – ruins, sculpture, and artefacts – formed the core of this transformation. Some such interactions were proto-archaeological, such as the Dilettanti expeditions to Athens and Asa Minor; others were touristic, seen in the guidebooks consulted by travellers to Rome and the diaries they composed; and others creative, resulting in novels, poetry, and dance performances. Some involved the reproduction of experience in a gallery or museum setting. What all encounters with ancient material culture had in common, however, is their haptic sensory basis. The sense typically associated with the Enlightenment is vision, but this has obscured the equally important contribution made by touch and movement to the way in which a newly materialised Graeco-Roman world was perceived. Kinaesthesia, or the sense of self-movement, is rarely recognised in its own right, but because all encounters with sites and objects are embodied, and all embodiment takes place in motion, this sense is vital to forming more abstract or imaginative impressions. Theories of embodied cognition propose that all intellectual processes are also physical. This book shows how ideas about classical antiquity in the volatile milieu of the late 18th century developed as a result of diverse kinaesthetic relationships.
Composed in early imperial Rome by Lucius Annaeus Seneca, Stoic philosopher and tutor to the emperor Nero, the tragedy Medea is dominated by the superhuman energy of its protagonist: diva, killer, enchantress, force of nature. Seneca's treatment of the myth covers an episode identical to that of Euripides' Greek version, enabling instructive comparisons to be drawn. Seneca's Medea has challenged and fascinated theatre-makers across cultures and centuries and should be regarded as integral to the classical heritage of European theatre. This companion volume sketches the essentials of Seneca's play and at the same time situates it within an interpretive tradition. It also uses Medea to illustrate key features of Senecan dramaturgy, the way in which language functions as a mode of theatrical representation and the way in which individuals are embedded in their surrounding conditions, resonating dissonantly with the principles of Roman Stoicism. By interweaving some of the play's subsequent receptions, theatrical and textual, into critical analysis of Medea as dramatic poetry, this companion volume will encourage the student to come to grips immediately with the ancient text's inherent multiplicity. In this way, reception theory informs not only the content of the volume but also, fundamentally, the way in which it is presented.
Alongside the works of the better-known classical Greek dramatists, the tragedies of Lucius Annaeus Seneca have exerted a profound influence over the dramaturgical development of European theatre. The Senecan Aesthetic surveys the multifarious ways in which Senecan tragedy has been staged, from the Renaissance up to the present day: plundered for neo-Latin declamation and seeping into the blood-soaked revenge tragedies of Shakespeare's contemporaries, seasoned with French neoclassical rigour, and inflated by Restoration flamboyance. In the mid-eighteenth century, the pincer movement of naturalism and philhellenism began to squeeze Seneca off the stage until August Wilhelm Schlegel's shrill denunciation silenced what he called its 'frigid bombast'. The Senecan aesthetic, repressed but still present, staged its return in the twentieth century in the work of Antonin Artaud, who regarded Seneca as 'the greatest tragedian of history'. This volume restores Seneca to a canonical position among the playwrights of antiquity, recognizing him as one of the most important, most revered, and most reviled, and in doing so reveals how theory, practice, and scholarship have always been interdependent and inseparable.
Crime in England, 1815-1880 provides a unique insight into views on crime and criminality and the operation of the criminal justice system in England from the early to the late nineteenth century. This book examines the perceived problem and causes of crime, views about offenders and the consequences of these views for the treatment of offenders in the criminal justice system. The book explores the perceived causes of criminality, as well as concerns about particular groups of offenders, such as the 'criminal classes' and the 'habitual offender', the female offender and the juvenile criminal. It also considers the development of policing, the systems of capital punishment and the transportation of offenders overseas, as well as the evolution of both local and convict prison systems. The discussion primarily investigates those who were drawn into the criminal justice system and the attitudes towards and mechanisms to address crime and offenders. The book draws together original research by the author to locate these broader developments and provides detailed case studies illuminating the lives of those who experienced the criminal justice system and how these changes were experienced in provincial England. With an emphasis on the penal system and case studies on offenders' lives and on provincial criminal justice, this book will be useful to academics and students interested in criminal justice, history and penology, as well as being of interest to the general reader.
A provocative survey of new research in the history of urban public health, Body and City links the approaches of demographic and medical history with the methodologies of urban history and historical geography. It challenges older methodologies, offering new insights into the significance of cultural history, which has largely been overlooked by previous histories of public health. This book explores important issues and experiences in the public health arena in diverse European settings from the Middle Ages to the early 20th century.
Pheidippides did it once and became a legend. Brian Mills did it 771 times... but you might be forgiven for not knowing who he is. He is a runner and 'it' is the marathon - all 26 miles and 385 yards of it - and for some people once is not enough. Brian Mills is rumoured to have a butterfly tattoo for each of his 771 efforts. And Brian is not the only one who has notched up three digits of grueling athletic endeavor. The 100 Marathon Club, also known as the Hell's Angels of Running and Running Sluts (running one race whilst thinking of another), is growing in number every year. This is a club with no prejudices and only one prerequisite for membership - the completion of 100 marathons. It is full of colourful, contrasting characters with idiosyncratic personalities and diverse lifestyles. They make up a gargantuan melting pot of humanity linked by one common desire - to run... and run... and run. But who would want to run 100 marathons or more? And why? How do they find the time, the money, the energy? Are they crazy? Or just passionate? Find out by reading their stories. Some will make you laugh, others will make you cry, some may even inspire you to run a marathon. Believe it or not, these are ordinary, everyday people like you. Although when you have finished laughing and crying, you may still not be sure whether they are crazy or passionate. But you - as they do when they run - will have a lot of fun along the way.
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