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Senecan Tragedy and the Reception of Augustan Poetry
Christopher Trinacty's Senecan Tragedy and the Reception of Augustan Poetry uniquely places Senecan tragedy in its Roman literary context, offering a further dimension to the motivations and meaning behind Seneca's writings. By reading Senecan tragedy through an intertextual lens, Senecan Tragedy and the Reception of Augustan Poetry reveals Seneca's awareness of his historical moment, in which the Augustan period was eroding steadily around him.
Character is Destiny
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Shakespeare and Senecan Tragedy
Perry reveals Shakespeare derived modes of tragic characterization, previously seen as presciently modern, via engagement with Rome and Senecan tragedy.
Titus Andronicus: The State of Play
Shakespeare's and Peele's Titus Andronicus has had a theatrical and a critical revival in the last fifteen years; the critical revival was perhaps prompted by Jonathan Bate's Arden edition of the play and its revision of the traditional critical account that it is an immature work and overly sensationalistic with its emphasis on non-essential violence. Recent debates and approaches have drawn closer attention to the play's classicism; re-defined its genre (for example the revised edition of the New Dramatic Sources will re-classify the play as one of Shakespeare's Roman plays); re-considered the nature of violent spectacle, family relations and kinship, political alliance, race and miscegenation. This study will explore how the revitalized critical responses to early modern and contemporary performance histories has had a significant impact upon the wider reception of this play.
Senecan Tragedy and the Reception of Augustan Poetry
Christopher Trinacty investigates selected moments of intertextual dialogue between Seneca's tragedies and the Augustan poets (focusing on Vergil, Horace, and Ovid) in order to develop a better understanding of Senecan poetics. Seneca acts as a reader of the Augustan tradition and incorporates his interpretation of the poetry of his predecessors in his tragedies. Because tragedy is a melange of different genres, Seneca believes it to be the most effective genre for commenting on the Augustan tradition as a whole.
Killing Hercules
This book offers an entirely new reception history of the myth of Hercules and his wife/killer Deianira. The book poses, and attempts to answer, two important and related questions. First, why have artists across two millennia felt compelled to revisit this particular myth to express anxieties about violence at both a global and domestic level? Secondly, from the moment that Sophocles disrupted a myth about the definitive exemplar of masculinity and martial prowess and turned it into a story about domestic abuse, through to a 2014 production of Handel’s Hercules that was set in the context of the ‘war on terror’, the reception history of this myth has been one of discontinuity and conflict; how and why does each culture reinvent this narrative to address its own concerns and discontents, and how does each generation speak to, qualify or annihilate the certainties of its predecessors in order to understand, contain or exonerate the aggression with which their governors – of state and of the household – so often enforce their authority, and the violence to which their nations, and their homes, are perennially vulnerable?
Albertino Mussato: The Making of a Poet Laureate
This book examines the life and political career of Albertino Mussato (1261–1329), a Paduan poet, historian and politician. Mussato was one of the first writers of the late medieval period to begin reviving classical Latin in his works. His classical style tragic drama Ecerinis, inspired by the writings of Seneca, paved the way for him to be crowned as the first poet laureate since antiquity. This work outlines how Mussato depicted the course of his own career, from being an impoverished teenager of insignificant birth to becoming a celebrated poet and scholar, as well as an influential political figure. It looks specifically at the years leading up to Mussato’s public coronation, on 3rd...
Seneca's Tragedies and the Aesthetics of Pantomime
Pantomime was arguably the most popular dramatic genre during the Roman Empire, but has been relatively neglected by literary critics. Seneca's Tragedies and the Aesthetics of Pantomime adds to our understanding of Seneca's tragic art by demonstrating that elements which have long puzzled scholars can be attributed to the influence of pantomime. The work argues that certain formal features which depart from the conventions of fifth-century Attic drama can be explained by the influence of, and interaction with, this more popular genre. The work includes a detailed and systematic analysis of the specific pantomime-inspired features of Seneca's tragedies: the loose dramatic structure, the prese...
